Contents

According to Arnold Houbraken, Jan was the son of Lieven Hendriksze, a tapestry worker (borduurwerker), and was trained by Joris Verschoten, he was sent to Pieter Lastman in Amsterdam at about the age of 10 for two full years. After that he began his career as an independent artist, at about the age of 12 in Leiden,[1] he became something of a celebrity because of his talent at such a young age. Specifically, his copy of Democriet & Herakliet by Cornelis van Haarlem (illustration), and a portrait of his mother Machtelt Jans van Noortzant, were admired. This attracted the attention of Maurice of Nassau, Prince of Orange, around 1620, who bought a life-size painting of a young man reading by the light of a turf-fire. He gave this painting in turn to the English Ambassador, who presented it to James I, this was the reason why, when Lievens was 31, he was invited to the British court.[1] When he returned from England via Calais, he settled in Antwerp, where he married Suzanna Colyn de Nole, the daughter of the sculptor Michiel Colyns, on 23 December 1638;[2] in this period he won many commissions from royalty, mayors, and city halls. According to Houbraken, a Continence of Scipio was painted for the Leiden city hall.[1] A poem by Joost van den Vondel was written in honor of a painting (a schoorsteenstuk, or over the mantel piece) he made for the mayor's office of the Amsterdam city hall (now the Royal Palace of Amsterdam) in 1661.[1] According to the Amsterdams Historisch Museum, this piece survives and depicts Brinno raised on a shield with the Cananefates, after a similar painting by Otto van Veen in 1613.[3]

Jan Lievens's painting of Allegory of Peace. The sitting female allegory of Peace is being crowned by a woman in armor, while trampling the allegory of War under her feet. 1654

Lievens collaborated and shared a studio with Rembrandt van Rijn from about 1626 to 1631, their competitive collaboration, represented in some two dozen paintings, drawings and etchings,[4] was intimate enough to cause difficulties in the attribution of works from this period. Lievens showed talent for painting in a life-size scale, and his dramatic compositions suggest the influence of the Caravaggisti; in Constantijn Huygens' assessment, Lievens was more inventive, yet less expressive than Rembrandt.[5] The two men split in 1631, when Rembrandt moved to Amsterdam and Lievens to England; in 1656 Rembrandt still owned paintings by his former friend.

During his time in England Lievens painted a portrait for Thomas Howard, 21st Earl of Arundel, and became influenced by the works of Anthony van Dyck. Lievens worked in Antwerp, and cooperated with Adriaen Brouwer, after being a court painter in The Hague and Berlin, he returned to Amsterdam in 1655. After his first wife died he married a sister of Jan de Bray in 1648, after 1672, the Rampjaar Lievens had increasing financial difficulties and his family voided all claims of inheritance on his death due to his debts.

1.
Leiden
–
Leiden is a city and municipality in the Dutch province of South Holland. Leiden is located on the Oude Rijn, at a distance of some 20 kilometres from The Hague to its south, the recreational area of the Kaag Lakes lies just to the northeast of Leiden. A university city since 1575, Leiden houses Leiden University, the oldest university of the Netherlands, Leiden is a city with a rich cultural heritage, not only in science, but also in the arts. One of the worlds most famous painters, Rembrandt, was born, other famous Leiden painters include Lucas van Leyden, Jan van Goyen and Jan van Steen. The city has one of Europes most prominent scientific centres for more than four centuries. Modern scientific medical research and teaching started in the early 18th century in Leiden with Boerhaave, many important scientific discoveries have been made here, giving rise to Leiden’s motto, ‘City of Discoveries’. It is twinned with Oxford, the location of the United Kingdoms oldest university, Leiden University and Leiden University of Applied Sciences together have around 35,000 students. Leiden is a university city, university buildings are scattered throughout the city. Leiden was formed on a hill at the confluence of the rivers Oude. In the oldest reference to this, from circa 860, the settlement was called Leithon, the name is said to be from Germanic *leitha- canal. Leiden has in the past erroneously been associated with the Roman outpost Lugdunum Batavorum and this particular castellum was thought to be located at the Burcht of Leiden, and the citys name was thought to be derived of the Latin name Lugdunum. However the castellum was in closer to the town of Katwijk. The landlord of Leiden, situated in a stronghold on the hill, was subject to the Bishop of Utrecht. This county got its name in 1101 from a domain near the stronghold, Leiden was sacked in 1047 by Emperor Henry III. Early 13th century, Ada, Countess of Holland took refuge here when she was fighting in a war against her uncle, William I. He besieged the stronghold and captured Ada, Leiden received city rights in 1266. In 1389, its population had grown to about 4,000 persons, burgrave Filips of Wassenaar and the other local noblemen of the Hook faction assumed that the duke would besiege Leiden first and send small units out to conquer the surrounding citadels. But John of Bavaria chose to attack the citadels first and he rolled the cannons with his army but one which was too heavy went by ship

2.
Dutch Republic
–
It preceded the Batavian Republic, the Kingdom of Holland, the United Kingdom of the Netherlands, and ultimately the modern Kingdom of the Netherlands. Alternative names include the United Provinces, Seven Provinces, Federated Dutch Provinces, most of the Low Countries had come under the rule of the House of Burgundy and subsequently the House of Habsburg. In 1549 Holy Roman Emperor Charles V issued the Pragmatic Sanction, Charles was succeeded by his son, King Philip II of Spain. This was the start of the Eighty Years War, in 1579 a number of the northern provinces of the Low Countries signed the Union of Utrecht, in which they promised to support each other in their defence against the Spanish army. This was followed in 1581 by the Act of Abjuration, the declaration of independence of the provinces from Philip II. In 1582 the United Provinces invited Francis, Duke of Anjou to lead them, but after an attempt to take Antwerp in 1583. After the assassination of William of Orange, both Henry III of France and Elizabeth I of England declined the offer of sovereignty, however, the latter agreed to turn the United Provinces into a protectorate of England, and sent the Earl of Leicester as governor-general. This was unsuccessful and in 1588 the provinces became a confederacy, the Union of Utrecht is regarded as the foundation of the Republic of the Seven United Provinces, which was not recognized by the Spanish Empire until the Peace of Westphalia in 1648. During the Anglo-French war, the territory was divided into groups, the Patriots, who were pro-French and pro-American and the Orangists. The Republic of the United Provinces faced a series of revolutions in 1783–1787. During this period, republican forces occupied several major Dutch cities, initially on the defence, the Orangist forces received aid from Prussian troops and retook the Netherlands in 1787. After the French Republic became the French Empire under Napoleon, the Batavian Republic was replaced by the Napoleonic Kingdom of Holland, the Netherlands regained independence from France in 1813. In the Anglo-Dutch Treaty of 1814 the names United Provinces of the Netherlands, on 16 March 1815, the son of stadtholder William V crowned himself King William I of the Netherlands. Between 1815 and 1890 the King of the Netherlands was also in a union the Grand Duke of the sovereign Grand Duchy of Luxembourg. After Belgium gained its independence in 1830, the state became known as the Kingdom of the Netherlands. The County of Holland was the wealthiest and most urbanized region in the world, the free trade spirit of the time received a strong augmentation through the development of a modern, effective stock market in the Low Countries. The Netherlands has the oldest stock exchange in the world, founded in 1602 by the Dutch East India Company, while Rotterdam has the oldest bourse in the Netherlands, the worlds first stock exchange, that of the Dutch East-India Company, went public in six different cities. Later, a court ruled that the company had to reside legally in a city so Amsterdam is recognized as the oldest such institution based on modern trading principles

3.
Amsterdam
–
Amsterdam is the capital and most populous municipality of the Kingdom of the Netherlands. Its status as the capital is mandated by the Constitution of the Netherlands, although it is not the seat of the government, which is The Hague. Amsterdam has a population of 851,373 within the city proper,1,351,587 in the urban area, the city is located in the province of North Holland in the west of the country. The metropolitan area comprises much of the part of the Randstad, one of the larger conurbations in Europe. Amsterdams name derives from Amstelredamme, indicative of the citys origin around a dam in the river Amstel, during that time, the city was the leading centre for finance and diamonds. In the 19th and 20th centuries the city expanded, and many new neighborhoods and suburbs were planned, the 17th-century canals of Amsterdam and the 19–20th century Defence Line of Amsterdam are on the UNESCO World Heritage List. As the commercial capital of the Netherlands and one of the top financial centres in Europe, Amsterdam is considered a world city by the Globalization. The city is also the capital of the Netherlands. Many large Dutch institutions have their headquarters there, and seven of the worlds 500 largest companies, including Philips and ING, are based in the city. In 2012, Amsterdam was ranked the second best city to live in by the Economist Intelligence Unit and 12th globally on quality of living for environment, the city was ranked 3rd in innovation by Australian innovation agency 2thinknow in their Innovation Cities Index 2009. The Amsterdam seaport to this day remains the second in the country, famous Amsterdam residents include the diarist Anne Frank, artists Rembrandt van Rijn and Vincent van Gogh, and philosopher Baruch Spinoza. The Amsterdam Stock Exchange, the oldest stock exchange in the world, is located in the city center. After the floods of 1170 and 1173, locals near the river Amstel built a bridge over the river, the earliest recorded use of that name is in a document dated October 27,1275, which exempted inhabitants of the village from paying bridge tolls to Count Floris V. This allowed the inhabitants of the village of Aemstelredamme to travel freely through the County of Holland, paying no tolls at bridges, locks, the certificate describes the inhabitants as homines manentes apud Amestelledamme. By 1327, the name had developed into Aemsterdam, Amsterdam is much younger than Dutch cities such as Nijmegen, Rotterdam, and Utrecht. In October 2008, historical geographer Chris de Bont suggested that the land around Amsterdam was being reclaimed as early as the late 10th century. This does not necessarily mean there was already a settlement then, since reclamation of land may not have been for farming—it may have been for peat. Amsterdam was granted city rights in either 1300 or 1306, from the 14th century on, Amsterdam flourished, largely from trade with the Hanseatic League

Amsterdam
Amsterdam
Amsterdam
Amsterdam

4.
Netherlands
–
The Netherlands is the main constituent country of the Kingdom of the Netherlands. It is a densely populated country located in Western Europe with three territories in the Caribbean. The European part of the Netherlands borders Germany to the east, Belgium to the south, and the North Sea to the northwest, sharing borders with Belgium, the United Kingdom. The three largest cities in the Netherlands are Amsterdam, Rotterdam and The Hague, Amsterdam is the countrys capital, while The Hague holds the Dutch seat of parliament and government. The port of Rotterdam is the worlds largest port outside East-Asia, the name Holland is used informally to refer to the whole of the country of the Netherlands. Netherlands literally means lower countries, influenced by its low land and flat geography, most of the areas below sea level are artificial. Since the late 16th century, large areas have been reclaimed from the sea and lakes, with a population density of 412 people per km2 –507 if water is excluded – the Netherlands is classified as a very densely populated country. Only Bangladesh, South Korea, and Taiwan have both a population and higher population density. Nevertheless, the Netherlands is the worlds second-largest exporter of food and agricultural products and this is partly due to the fertility of the soil and the mild climate. In 2001, it became the worlds first country to legalise same-sex marriage, the Netherlands is a founding member of the EU, Eurozone, G-10, NATO, OECD and WTO, as well as being a part of the Schengen Area and the trilateral Benelux Union. The first four are situated in The Hague, as is the EUs criminal intelligence agency Europol and this has led to the city being dubbed the worlds legal capital. The country also ranks second highest in the worlds 2016 Press Freedom Index, the Netherlands has a market-based mixed economy, ranking 17th of 177 countries according to the Index of Economic Freedom. It had the thirteenth-highest per capita income in the world in 2013 according to the International Monetary Fund, in 2013, the United Nations World Happiness Report ranked the Netherlands as the seventh-happiest country in the world, reflecting its high quality of life. The Netherlands also ranks joint second highest in the Inequality-adjusted Human Development Index, the region called Low Countries and the country of the Netherlands have the same toponymy. Place names with Neder, Nieder, Nether and Nedre and Bas or Inferior are in use in all over Europe. They are sometimes used in a relation to a higher ground that consecutively is indicated as Upper, Boven, Oben. In the case of the Low Countries / the Netherlands the geographical location of the region has been more or less downstream. The geographical location of the region, however, changed over time tremendously

5.
Pieter Lastman
–
Pieter Lastman was a Dutch painter. Lastman is considered important because of his work as a painter of history pieces and because his pupils included Rembrandt, in his paintings Lastman paid a lot of attention to the faces, hands and feet. Pieter Lastman was born in Amsterdam, the son of a town-beadle and his mother was an appraiser of paintings and goods. His apprenticeship was with Gerrit Pietersz Sweelinck, the brother of Jan Pieterszoon Sweelinck, between approximately 1604 and 1607 Lastman was in Italy, where he was influenced by Caravaggio and by Adam Elsheimer. Back in Amsterdam he moved in with his mother in the Sint Antoniesbreestraat, Lastman never married although he promised to marry the sister of Gerbrand Adriaensz Bredero. Because of his health Lastman moved in with his brother in 1632 and he died the next year and was buried in the Oude Kerk on 4 April 1633. Because Rembrandt never visited Italy, it is likely that he was influenced by Caravaggio mainly or significantly via Lastman and his pupils besides Rembrandt and Lievens were Bartholomeus Breenbergh, Nicolaes Lastman, Pieter Pieterz Nedek and Jan Albertsz Rotius. ^ Murray, P. & L. Penguin dictionary of art and artists, p.287, 436–438

6.
Rembrandt
–
Rembrandt Harmenszoon van Rijn was a Dutch draughtsman, painter, and printmaker. A prolific and versatile master across three media, he is considered one of the greatest visual artists in the history of art. Having achieved youthful success as a painter, Rembrandts later years were marked by personal tragedy. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, Rembrandts portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and his reputation as the greatest etcher in the history of the medium was established in his lifetime, and never questioned since. Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, because of his empathy for the human condition, he has been called one of the great prophets of civilization. Rembrandt Harmenszoon van Rijn was born on 15 July 1606 in Leiden, in the Dutch Republic and he was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck. His family was quite well-to-do, his father was a miller, religion is a central theme in Rembrandts paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the Dutch Reformed Church, unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime. He opened a studio in Leiden in 1624 or 1625, which he shared with friend, in 1627, Rembrandt began to accept students, among them Gerrit Dou in 1628. In 1629, Rembrandt was discovered by the statesman Constantijn Huygens, as a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646. He initially stayed with an art dealer, Hendrick van Uylenburgh, Saskia came from a good family, her father had been a lawyer and the burgemeester of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandts relatives. In the same year, Rembrandt became a burgess of Amsterdam and he also acquired a number of students, among them Ferdinand Bol and Govert Flinck. In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat, in 1639 they moved to a prominent newly built house in the upscale Breestraat, today known as Jodenbreestraat in what was becoming the Jewish quarter, then a young upcoming neighborhood. The mortgage to finance the 13,000 guilder purchase would be a cause for later financial difficulties. Rembrandt should easily have been able to pay the house off with his income, but it appears his spending always kept pace with his income. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes, in 1640, they had a second daughter, also named Cornelia, who died after living barely over a month

7.
Arnold Houbraken
–
Arnold Houbraken was a Dutch painter and writer from Dordrecht, now remembered mainly as a biographer of artists from the Dutch Golden Age. Houbraken was sent first to learn threadtwisting from Johannes de Haan, after two years he then studied art with Willem van Drielenburch, who he was with during the rampjaar, the year 1672. He then studied 9 months with Jacobus Leveck and finally, four years with Samuel van Hoogstraten, in 1685 he married Sara Sasbout, and around 1709 he moved from Dordrecht to Amsterdam. Arnold Houbraken painted mythological and religious paintings, portraits and landscapes and his first attempt at an instructive manual for artists was his Emblem book, Inhoud van t Sieraad der Afbeelding, which was meant as a guide of possible painting themes. His registered pupils were Matthijs Balen, Johan Graham, and his son Jacob and his son Jacobus Houbraken was an engraver of portraits and book illustrations, including books by his father. His daughter Antonina Houbraken also became an engraver for an Amsterdam publisher and his daughter Christina Houbraken was also an artist. Arnold Houbrakens books sold well during the entire 18th century. Jacob Campo Weyerman published his version in serial form that was published as a complete set in 1769. Houbrakens engravings of the artists are in cases the only surviving portraits of these people. The first to make a sequel to Houbrakens work was Johan van Gool in 1750-51. Houbraken was very careful to check and double check his sources, excepting those cases where the artist died quite young, or whose oeuvre was lost during various wars, very few artists were included in the Schouburg who do not hang in international museums today. The first modern art historian to publish an update of his work was Adriaan van der Willigen, since then he has remained a valuable resource for art historians. The Schouburgh is part of the Basic Library of the dbnl which contains the 1000 most important works in Dutch literature from the Middle Ages to today

8.
Cornelis van Haarlem
–
Born in Haarlem, Cornelis Corneliszoon was a pupil of Pieter Pietersz in Haarlem, and later Gillis Coignet in Antwerp. He painted mainly portraits as well as mythological and Biblical subjects, initially Cornelis Cornelisz painted large-size, highly stylized works with Italianate nudes in twisted poses with a grotesque, unnatural anatomy. Later, his style changed to one based on the Netherlandish realist tradition, later, in 1580-1581 Corneliszoon studied in Rouen, France, and Antwerp, before returning to Haarlem, where he stayed the rest of his life. He became a member of the community and in 1583 he received his first official commission from the city of Haarlem, a militia company portrait. He later became city painter of Haarlem and received official commissions. As a portrait painter, both of groups and individuals, he was an important influence on Frans Hals and he married Maritgen Arentsdr Deyman, the daughter of a mayor of Haarlem, sometime before 1603. In 1605, he inherited a third of his wealthy father-in-laws estate, together with Carel van Mander, Hendrick Goltzius and other artists, he started an informal drawing school that has become known in art history circles as the Haarlem Academy or Haarlem Mannerists. Probably this was an informal grouping, perhaps meeting to draw nude models. Corneliszoon also played a role in the attempt to make a new charter for the Haarlem Guild of St. Luke in 1630. His registered pupils were Salomon de Bray, Cornelis Jacobsz Delff, Cornelis Engelsz, among his students was Cornelis Claesz Heda, who seems to have exported Cornelisz particular brand of mannerism to India, where he was active at the court of the sultan of Bijapur. Seymour Slive, Dutch Painting, 1600–1800, Yale UP,1995, ISBN 0-300-07451-4 Web Gallery of Art Artcyclopedia Getty Museum

Cornelis van Haarlem
–
Self-portrait (c. 1588–1590)
Cornelis van Haarlem
–
Venus and Adonis (1614)
Cornelis van Haarlem
–
The Fall of the Titans (1588–1590)
Cornelis van Haarlem
–
Banquet of the Officers of the Company of St. George (1599)

9.
James I of England
–
James VI and I was King of Scotland as James VI from 24 July 1567 and King of England and Ireland as James I from the union of the Scottish and English crowns on 24 March 1603 until his death. The kingdoms of Scotland and England were individual sovereign states, with their own parliaments, judiciary, and laws, though both were ruled by James in personal union. James was the son of Mary, Queen of Scots, James succeeded to the Scottish throne at the age of thirteen months, after his mother Mary was compelled to abdicate in his favour. Four different regents governed during his minority, which ended officially in 1578, in 1603, he succeeded the last Tudor monarch of England and Ireland, Elizabeth I, who died without issue. He continued to reign in all three kingdoms for 22 years, a period known after him as the Jacobean era, until his death in 1625 at the age of 58. After the Union of the Crowns, he based himself in England from 1603, only returning to Scotland once in 1617 and he was a major advocate of a single parliament for England and Scotland. In his reign, the Plantation of Ulster and British colonization of the Americas began, at 57 years and 246 days, Jamess reign in Scotland was longer than those of any of his predecessors. He achieved most of his aims in Scotland but faced difficulties in England, including the Gunpowder Plot in 1605. James himself was a scholar, the author of works such as Daemonologie, The True Law of Free Monarchies. He sponsored the translation of the Bible that would later be named after him, Sir Anthony Weldon claimed that James had been termed the wisest fool in Christendom, an epithet associated with his character ever since. Since the latter half of the 20th century, historians have tended to revise Jamess reputation and treat him as a serious, James was the only son of Mary, Queen of Scots, and her second husband, Henry Stuart, Lord Darnley. Both Mary and Darnley were great-grandchildren of Henry VII of England through Margaret Tudor, Marys rule over Scotland was insecure, and she and her husband, being Roman Catholics, faced a rebellion by Protestant noblemen. James was born on 19 June 1566 at Edinburgh Castle, and as the eldest son and heir apparent of the monarch automatically became Duke of Rothesay and Prince and he was baptised Charles James or James Charles on 17 December 1566 in a Catholic ceremony held at Stirling Castle. His godparents were Charles IX of France, Elizabeth I of England, Mary refused to let the Archbishop of St Andrews, whom she referred to as a pocky priest, spit in the childs mouth, as was then the custom. The subsequent entertainment, devised by Frenchman Bastian Pagez, featured men dressed as satyrs and sporting tails, Jamess father, Darnley, was murdered on 10 February 1567 at Kirk o Field, Edinburgh, perhaps in revenge for Rizzios death. James inherited his fathers titles of Duke of Albany and Earl of Ross, Mary was already unpopular, and her marriage on 15 May 1567 to James Hepburn, 4th Earl of Bothwell, who was widely suspected of murdering Darnley, heightened widespread bad feeling towards her. In June 1567, Protestant rebels arrested Mary and imprisoned her in Loch Leven Castle and she was forced to abdicate on 24 July 1567 in favour of the infant James and to appoint her illegitimate half-brother, James Stewart, Earl of Moray, as regent. The care of James was entrusted to the Earl and Countess of Mar, to be conserved, nursed, and upbrought in the security of Stirling Castle

James I of England
–
Portrait by Daniel Mytens, 1621
James I of England
–
Portrait of James as a boy, after Arnold Bronckorst, 1574
James I of England
–
James (right) depicted beside his mother Mary (left). In reality, they were separated when he was still a baby.
James I of England
–
James in 1586, age 20

10.
Calais
–
Calais is a town and major ferry port in northern France in the department of Pas-de-Calais, of which it is a sub-prefecture. Although Calais is by far the largest city in Pas-de-Calais, the prefecture is its third-largest city of Arras. The population of the area at the 2010 census was 126,395. Calais overlooks the Strait of Dover, the narrowest point in the English Channel, which is only 34 km wide here, the White Cliffs of Dover can easily be seen on a clear day from Calais. Calais is a port for ferries between France and England, and since 1994, the Channel Tunnel has linked nearby Coquelles to Folkestone by rail. Due to its position, Calais since the Middle Ages has been a major port and it was annexed by Edward III of England in 1347 and grew into a thriving centre for wool production. The town came to be called the brightest jewel in the English crown owing to its importance as the gateway for the tin, lead, lace. Calais was a possession of England until its capture by France in 1558. In 1805 it was an area for Napoleons troops for several months during his planned invasion of the United Kingdom. The town was razed to the ground during World War II. During World War II, the Germans built massive bunkers along the coast in preparation for launching missiles on England, the old part of the town, Calais proper, is situated on an artificial island surrounded by canals and harbours. The modern part of the town, St-Pierre, lies to the south, south east of the Place is the church of Notre-Dame, built during the English occupancy of Calais. It is arguably the only built in the English perpendicular style in all of France. In this church former French President Charles de Gaulle married his wife Yvonne Vendroux, south of the Place and opposite the Parc St Pierre is the Hôtel-de-ville, and the belfry from the 16th and early 17th centuries. Today, Calais is visited by more than 10 million annually, although the early history of habitation in the area is limited, the Romans called the settlement Caletum. Julius Caesar mustered 800 to 1,000 sailing boats, five legions, as the pebble and sand ridge extended eastward from Calais, the haven behind it developed into fen, as the estuary progressively filled with silt and peat. Calais was improved by the Count of Flanders in 997 and fortified by the Count of Boulogne in 1224, in 1189, Richard the Lionheart is documented to have landed at Calais on his journey to the Third Crusade. Angered, the English king demanded reprisals against the citizens for holding out for so long

Calais
–
Port of Calais
Calais
–
"Le Devouement des Bourgeois de Calais 1347", "The Devotion of the Burghers of Calais". Philippa of Hainault begs King Edward III to spare the lives of the six volunteers for martyrdom. 19th-century mural in Council Chamber, Hôtel de Ville, Calais
Calais
–
The Burghers of Calais, by Rodin, with the Hôtel de Ville behind.
Calais
–
The Marches of Calais temp. Henry VIII. (Top: south, bottom:north): "Cales Market" within citadel, shown at bottom, top " Gyenes Castel ", bottom left " Graveling ", bottom right " Sand Gat "

11.
Antwerp
–
Antwerp is a city in Belgium, the capital of Antwerp province in the region of Flanders. With a population of 510,610, it is the most populous city proper in Belgium and its metropolitan area houses around 1,200,000 people, which is second behind Brussels. Antwerp is on the River Scheldt, linked to the North Sea by the Westerschelde estuary, the Port of Antwerp is one of the biggest in the world, ranking second in Europe and within the top 20 globally. Antwerp has long been an important city in the Low Countries, the inhabitants of Antwerp are nicknamed Sinjoren, after the Spanish honorific señor or French seigneur, lord, referring to the Spanish noblemen who ruled the city in the 17th century. The city hosted the 1920 Summer Olympics, according to folklore, notably celebrated by a statue in front of the town hall, the city got its name from a legend about a giant called Antigoon who lived near the Scheldt river. He exacted a toll from passing boatmen, and for those who refused, he severed one of their hands, eventually the giant was killed by a young hero named Silvius Brabo, who cut off the giants own hand and flung it into the river. Hence the name Antwerpen, from Dutch hand werpen, akin to Old English hand and wearpan, a longstanding theory is that the name originated in the Gallo-Roman period and comes from the Latin antverpia. Antverpia would come from Ante Verpia, indicating land that forms by deposition in the curve of a river. Note that the river Scheldt, before a period between 600 and 750, followed a different track. This must have coincided roughly with the current ringway south of the city, however, many historians think it unlikely that there was a large settlement which would be named Antverpia, but more something like an outpost with a river crossing. However, John Lothrop Motley argues, and so do a lot of Dutch etymologists and historians, aan t werp is also possible. This warp is a hill or a river deposit, high enough to remain dry at high tide. Another word for werp is pol hence polders, historical Antwerp allegedly had its origins in a Gallo-Roman vicus. Excavations carried out in the oldest section near the Scheldt, 1952–1961, produced pottery shards, the earliest mention of Antwerp dates from the 4th century. In the 4th century, Antwerp was first named, having been settled by the Germanic Franks, the name was reputed to have been derived from anda and werpum. The Merovingian Antwerp was evangelized by Saint Amand in the 7th century, at the end of the 10th century, the Scheldt became the boundary of the Holy Roman Empire. Antwerp became a margraviate in 980, by the German emperor Otto I, in the 11th century Godfrey of Bouillon was for some years known as the marquis of Antwerp. In the 12th century, Norbert of Xanten established a community of his Premonstratensian canons at St. Michaels Abbey at Caloes

12.
Joost van den Vondel
–
Joost van den Vondel was a Dutch poet, writer and playwright. He is considered the most prominent Dutch poet and playwright of the 17th century. His plays are the ones from that period that are still most frequently performed, performances of his theatre pieces occurred regularly until the 1960s. The most visible was the performance, on New Years Day from 1637 to 1968. Vondel remained productive until an old age. Vondel was born on 17 November 1587 on the Große Witschgasse in Cologne and his parents were Mennonites of Antwerpian descent. In 1595, probably because of their religious conviction, they fled to Utrecht, at the age of 23, Vondel married Mayken de Wolff. Together they had four children, of two died in infancy. After the death of his father in 1608, Vondel managed the family shop on the Warmoesstraat in Amsterdam. In the meantime, he began to learn Latin and became acquainted with poets such as Roemer Visscher. Around the year 1641, he converted to Catholicism and this was a great shock to most of his fellow countrymen because the main conviction and de facto state religion in the Republic was Calvinist Protestantism. It is still unclear why he became a Catholic although his love for a Catholic lady may have played a role in this, during his life, he became one of the main advocates for religious tolerance. Public practice of Catholicism, Anabaptism and Arminianism was from then on officially forbidden, Vondel wrote many satires criticising the Calvinists and extolling Oldenbarnevelt. That, together with his new faith, made him a figure in Calvinist circles. He died a man though he was honoured by many fellow poets. Amsterdams biggest park, the Vondelpark, bears his name, there is a statue of Vondel in the northern part of the park. Also, there is a Vondel Street in Cologne, the Vondelstraße in the Neustadt-Süd-district, the Dutch five guilder banknote bore Vondels portrait from 1950 until it was discontinued in 1990. George Borrow called him by far the greatest that Holland ever produced and it has been suggested that John Milton drew inspiration from Lucifer and Adam in Ballingschap for his Paradise Lost

13.
Royal Palace of Amsterdam
–
The Royal Palace in Amsterdam is one of three palaces in the Netherlands which are at the disposal of the monarch by Act of Parliament. The palace was built as a city hall during the Dutch Golden Age in the 17th century, the building became the royal palace of King Louis Napoleon and later of the Dutch Royal House. It is situated on the west side of Dam Square in the centre of Amsterdam, opposite the War Memorial and next to the Nieuwe Kerk. The palace was built as the Town Hall of the City of Amsterdam and was opened as such on 29 July 1655 by Cornelis de Graeff and it was built by Jacob van Campen, who took control of the construction project in 1648. It was built on 13,659 wooden piles and cost 8.5 million gulden, a yellowish sandstone from Bentheim in Germany was used for the entire building. The stone has darkened considerably in the course of time, marble was the chosen material for the interior. Jacob van Campen was inspired by Roman administrative palaces and public buildings and he wanted to build a new capitol for the Amsterdam burgomasters who thought of themselves as the consuls of the new Rome of the North. The technical implementation was looked after by the town construction master Daniël Stalpaert, the sculptures were executed by Artus Quellijn. The central hall is 120 feet long,60 feet wide and 90 feet high, on the marble floor there are two maps of the world with a celestial hemisphere. The Western and Eastern hemispheres are shown on the maps, the hemispheres detail the area of Amsterdams colonial influence. The terrestrial hemispheres were made in the mid-18th century and they replaced an earlier pair made in the late 1650s. The originals showed the regions explored by the Dutch East India Companys ships in the first half of the 17th century. This feature may have inspired by the map of the Roman Empire that had been engraved on marble and placed in the Porticus Vipsania. On top of the palace is a domed cupola, topped by a weather vane in the form of a cog ship. This ship is a symbol of Amsterdam, just underneath the dome there are a few windows. From here one could see the ships arrive and leave the harbour, in the cupola is the famous carillon by François and Pieter Hemony cast in 1664 in Amsterdam. It was renovated by Eijsbouts in 1965, only 9 bells by François and Pieter Hemony remained. 38 new bells by Eijsbouts were made and tuned in meantone temperament, the old corroded Hemony bells are kept inside the palace

Royal Palace of Amsterdam
–
The Royal Palace Amsterdam in 2005
Royal Palace of Amsterdam
–
Part of the Eastern hemisphere on the marble floor in the central hall
Royal Palace of Amsterdam
–
The central hall of the palace
Royal Palace of Amsterdam
–
The then Prince Willem-Alexander and Princess Máxima kiss on the balcony of the Royal Palace on their wedding day in 2002

14.
Amsterdams Historisch Museum
–
The Amsterdam Museum, until 2011 called the Amsterdams Historisch Museum, is a museum about the history of Amsterdam. Since 1975, it is located in the old city orphanage between Kalverstraat and Nieuwezijds Voorburgwal, the museum opened in 1926 in the Waag, one of Amsterdams 15th-century city gates. It has been located since 1975 in a building that was constructed in 1580 as Amsterdams municipal orphanage. The building was extended by Hendrick and his son Pieter de Keyser, the orphanage operated in this building until 1960. The museum exhibits items related to the history of Amsterdam. As of 2011, the museum manages 70,000 objects kept in various buildings, of those, approximately 25,000 have been photographed and are available to the public online. This includes all objects that were already free of copyright. The museum has on display paintings, models, archeological findings, photographs, but also less likely items such as a carillon, a Witkar

Amsterdams Historisch Museum
–
Courtyard of the museum
Amsterdams Historisch Museum
–
The coat of arms of Amsterdam above the entrance to the museum
Amsterdams Historisch Museum
–
Regents of the old city orphanage, painting by Abraham de Vries can still be seen in the wall of the regent's room where it was installed in 1633
Amsterdams Historisch Museum
–
One of the modern galleries in Amsterdam Museum

15.
Cananefates
–
Apparently the name had its origins in the fact that the Cananefates lived on sandy soils that were considered excellent for growing Alliums such as leeks and onions. At the beginning of the Batavian rebellion under Gaius Julius Civilis in the year 69, the Batavians sent envoys to the Canninefates to urge a common policy. This is a tribe, says Tacitus which inhabits part of the island, and closely resembles the Batavians in their origin, their language, and their courageous character and this would imply a similar descent as the Batavians from the Chatti. In the failed uprising that followed, the Canninefates were led by their chieftain Brinno, the capital of the civitas of the Cananefates was Forum Hadriani, modern Voorburg. In modern times, the region Kennemerland is said to derive from the name of the Cananefates

Cananefates
–
Notes [edit]

16.
Otto van Veen
–
He is known for running a large studio in Antwerp, producing several emblem books, and for being, from 1594 or 1595 until 1598, Peter Paul Rubenss teacher. His role as a classically educated humanist artist, reflected in the Latin name by which he is known, Octavius Vaenius, was influential on the young Rubens. Van Veen was born in Leiden around 1556, where his father had been Burgomaster and he probably was a pupil of Isaac Claesz van Swanenburg until October 1572, when the Catholic family moved to Antwerp, and then to Liège. He studied for a time under Dominicus Lampsonius and Jean Ramey and he stayed there for about five years, perhaps studying with Federico Zuccari. Carel van Mander relates that van Veen then worked at the courts of Rudolf II in Prague and William V of Bavaria in Munich, before returning to the Low Countries. In Brussels, he was painter to the governor of the Southern Netherlands, Alexander Farnese, Duke of Parma until 1592. After becoming a master in the Guild of St. Luke in 1593, van Veen took numerous commissions for decorations, including altarpieces for the Antwerp cathedral. He also organized his studio and workshop, which included Rubens, the artist later served as dean in two prominent organizations in the city, the Guild of St. Luke in 1602, and the Romanists in 1606. In the seventeenth century, van Veen often worked for the Archdukes Albert and Isabella, later paintings include a series of twelve paintings depicting the battles of the Romans and the Batavians, based on engravings he had already published of the subject, for the Dutch States General. He had two brothers who were painters, Gijsbert van Veen was an engraver and Pieter was an amateur. His daughter Gertruid was also a painter, increasingly, van Veen was active in producing Emblem books, including Quinti Horatii Flacci emblemata, Amorum emblemata, and Amoris divini emblemata. In all these works, van Veens skills as an artist, the Amorum emblemata, for example, pictures 124 putti, or little cupids, enacting the mottoes and quotations from lyricists, philosophers, and ancient writers on the powers of Love. Some of these emblems are as relevant today as they would have to a seventeenth-century audience, a few examples of these mottoes read, A Wished Warre, The woundes that lovers give are willingly receaved. He goes on to quote Cicero and Seneca on this theme, another example familiar to us today as the story of The Tortoise and the Hare, is titled Perseverance winneth, The hare and the tortes layd a wager of their speed. Shows us a cupid and tortoise outpacing the hare and exemplifying the idea that the love which is steady, Emblem Project Utrecht -3 editions of emblem books by Otto van Veen Amorum Emblemata on Internet Archive. Vita D. Thomae Aquinatis a manuscript by Otto van Veen Otto van Veen on Artcyclopedia Belkin, Kristin Lohse, bertini, Giuseppe, Otto van Veen, Cosimo Masi and the Art Market in Antwerp at the End of the Sixteenth Century. Rijksmuseum Amsterdam, Otto van Veens Batavians defeating the Roman Van de Velde, Carl, Veen, entry at the Netherlands Institute for Art History Veen, Otto van. Emblemes of Love, with verses in Latin, English, media related to Otto van Veen at Wikimedia Commons

Otto van Veen
–
Title print of three volume book Schouburg, by Arnold Houbraken. Houbraken considered Van Veen to be the most impressive artist and scholar of his day and put his portrait (lower left) on his title print.
Otto van Veen
–
Ottavio van Veen, in Het Gulden Cabinet p 39
Otto van Veen
–
Christ in the House of Martha and Mary, c. 1597
Otto van Veen
–
Veen, Otto van. Amorum Emblemata... Emblemes of Love, with verses in Latin, English, and Italian. Antwerp: [Typis Henrici Swingenii] Venalia apud Auctorem, 1608.

17.
Rembrandt van Rijn
–
Rembrandt Harmenszoon van Rijn was a Dutch draughtsman, painter, and printmaker. A prolific and versatile master across three media, he is considered one of the greatest visual artists in the history of art. Having achieved youthful success as a painter, Rembrandts later years were marked by personal tragedy. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, Rembrandts portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and his reputation as the greatest etcher in the history of the medium was established in his lifetime, and never questioned since. Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, because of his empathy for the human condition, he has been called one of the great prophets of civilization. Rembrandt Harmenszoon van Rijn was born on 15 July 1606 in Leiden, in the Dutch Republic and he was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck. His family was quite well-to-do, his father was a miller, religion is a central theme in Rembrandts paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the Dutch Reformed Church, unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime. He opened a studio in Leiden in 1624 or 1625, which he shared with friend, in 1627, Rembrandt began to accept students, among them Gerrit Dou in 1628. In 1629, Rembrandt was discovered by the statesman Constantijn Huygens, as a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646. He initially stayed with an art dealer, Hendrick van Uylenburgh, Saskia came from a good family, her father had been a lawyer and the burgemeester of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandts relatives. In the same year, Rembrandt became a burgess of Amsterdam and he also acquired a number of students, among them Ferdinand Bol and Govert Flinck. In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat, in 1639 they moved to a prominent newly built house in the upscale Breestraat, today known as Jodenbreestraat in what was becoming the Jewish quarter, then a young upcoming neighborhood. The mortgage to finance the 13,000 guilder purchase would be a cause for later financial difficulties. Rembrandt should easily have been able to pay the house off with his income, but it appears his spending always kept pace with his income. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes, in 1640, they had a second daughter, also named Cornelia, who died after living barely over a month

18.
Thomas Howard, 21st Earl of Arundel
–
When he died he possessed 700 paintings, along with large collections of sculpture, books, prints, drawings, and antique jewellery. Most of his collection of marble carvings, known as the Arundel marbles, was left to the University of Oxford. He is sometimes referred as the 2nd Earl of Arundel, it depends on whether one views the earldom obtained by his father as a new creation or not and he was also 2nd or 4th Earl of Surrey, and later, he was created 1st Earl of Norfolk. Also known as the Collector Earl, Arundel was born in relative penury, at Finchingfield in Essex on 7 July 1585. His aristocratic family had fallen into disgrace during the reign of Queen Elizabeth I owing to their religious conservatism and he was the son of Philip Howard, 20th Earl of Arundel and Anne Dacre, daughter and co-heiress of Thomas Dacre, 4th Baron Dacre of Gilsland. He never knew his father, who was imprisoned before Arundel was born, Arundels great-uncles returned the family to favour after James I ascended the throne, and Arundel was restored to his titles and some of his estates in 1604. Other parts of the lands ended up with his great-uncles. The next year he married Lady Alatheia Talbot, a daughter of Gilbert Talbot, 7th Earl of Shrewsbury, and she would inherit a vast estate in Nottinghamshire, Yorkshire, and Derbyshire, including Sheffield, which has been the principal part of the family fortune ever since. Even with this income, Arundels collecting and building activities would lead him heavily into debt. During the reign of Charles I, Arundel served several times as special envoy to some of the courts of Europe. These trips encouraged his interest in art collecting, in 1642 he accompanied Princess Mary for her marriage to William II of Orange. With the troubles that would lead to the Civil War brewing, he decided not to return to England and his youngest son William Howard, 1st Viscount Stafford-the ancestor of what was first the Earl of Stafford and later Baron Stafford. Arundel had petitioned the king for restoration of the ancestral Dukedom of Norfolk, while the restoration was not to occur until the time of his grandson, he was created Earl of Norfolk in 1644, which at least ensured the title would stay with his family. Arundel also got Parliament to entail his earldoms to the descendants of the 4th Duke of Norfolk, Arundel was a patron and collector of works of art. He was described by Walpole as the father of virtu in England and was a member of the Whitehall group of associated with Charles I. He commissioned portraits of himself or his family by contemporary masters such as Daniel Mytens, Peter Paul Rubens, Jan Lievens and he acquired other paintings by Hans Holbein, Adam Elsheimer, Mytens, Rubens, and Honthorst. He collected drawings by Leonardo da Vinci, the two Holbeins, Raphael, Parmigianino, Wenceslaus Hollar, and Dürer, many of these are now at the Royal Library at Windsor Castle or at Chatsworth. It is now in the Ashmolean Museum, the architect Inigo Jones accompanied Arundel on one of his trips to Italy 1613–14, a journey which took both men as far as Naples

19.
Anthony van Dyck
–
Sir Anthony van Dyck was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, the Van Dyke beard is named after him. Antoon van Dyck was born to parents in Antwerp. By the age of fifteen he was already an accomplished artist, as his Self-portrait, 1613–14. He was admitted to the Antwerp painters Guild of Saint Luke as a master by February 1618. His influence on the young artist was immense, Rubens referred to the nineteen-year-old van Dyck as the best of my pupils. At the same time the dominance of Rubens in the small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. In 1620, at the instigation of George Villiers, Marquess of Buckingham, van Dyck went to England for the first time where he worked for King James I of England, receiving £100. After about four months he returned to Flanders, but moved on in late 1621 to Italy and he was already presenting himself as a figure of consequence, annoying the rather bohemian Northern artists colony in Rome, says Giovan Pietro Bellori, by appearing with the pomp of Zeuxis. He was mostly based in Genoa, although he travelled extensively to other cities. In 1627, he went back to Antwerp where he remained for five years, a life-size group portrait of twenty-four City Councillors of Brussels he painted for the council-chamber was destroyed in 1695. He was evidently very charming to his patrons, and, like Rubens, well able to mix in aristocratic and court circles, by 1630 he was described as the court painter of the Habsburg Governor of Flanders, the Archduchess Isabella. In this period he produced many religious works, including large altarpieces. King Charles I was the most passionate and generous collector of art among the British monarchs, and saw art as a way of promoting his elevated view of the monarchy. In 1628, he bought the collection that the Gonzagas of Mantua were forced to dispose of. In 1626, he was able to persuade Orazio Gentileschi to settle in England, later to be joined by his daughter Artemisia and some of his sons. Rubens was a target, who eventually came on a diplomatic mission, which included painting, in 1630. He was very well-treated during his visit, during which he was knighted

20.
Jan de Bray
–
Jan de Bray, was a Dutch Golden Age painter. Jan de Bray was born in Haarlem, according to Houbraken he was the most famous pupil of his father, the architect and poet Salomon de Bray. Houbraken called Jan the pearl in Haarlems crown, Houbraken also mentioned some black and red chalk drawings by him that he saw at the Amsterdam home of Isaak del Court. He spent most of his working in Haarlem, where he was for many years dean of the Haarlem Guild of St. Luke. His brother Dirck de Bray was a painter who later became a monk in the monastery at Gaesdonck near Goch. His brother Joseph was also a painter and his mother was Anna Westerbaen, the sister of the painter Jan Westerbaen and the poet Jacob Westerbaen. De Bray survived most of his family during an outbreak of the plague in Haarlem in 1664 and he lost his father and two siblings within a month of each other. In 1689 he was declared bankrupt as a Haarlem citizen and moved to Amsterdam, Jan de Bray was influenced by his father, Bartholomeus van der Helst, and Frans Hals. De Brays works are portraits, often of groups. Among his finest works are two versions of the Banquet of Cleopatra, using his own family, including himself, as models, the second version has great pathos, as most of those depicted had died in the plague of 1663-4. Jan de Bray on Artnet Works and literature on PubHist Murray, Jan De Bray and the Classical Tradition at the National Gallery of Art, Washington - 16pp pdf exhibition brochure Entry for Jan de Bray in the RKD, the Netherlands Institute for Art History

Jan de Bray
–
De Bray and his wife as Ulysses and Penelope, 1668
Jan de Bray
–
The Painter's Guild in 1675. Jan de Bray's self-portrait is the second from the left, and his brother Dirck de Bray is standing upper right.
Jan de Bray
–
"David and the Ark of the Covenant"
Jan de Bray
–
In his family portrait depicting the banquet of Antony and Cleopatra at the moment when Cleopatra puts her earring in the wine, Jan is depicted standing on the left. In the earlier version, the sons look up to the father, and in this version, the brothers (all since deceased except for Dirck) look at Jan.

21.
Rampjaar
–
In Dutch history, the year 1672 was known as the rampjaar, the disaster year. The invading armies quickly defeated the Dutch States Army and conquered part of the Republic, a famous Dutch saying coined that year describes the Dutch people redeloos, its government radeloos, and the country reddeloos, irrational, desperate, and beyond rescue, respectively. Despite the initial shock and successful invasion of the eastern Dutch Republic, the English were defeated by the navy under Michiel de Ruyter in 1674, resulting in the Treaty of Westminster and eventually leading to the Glorious Revolution. The French were pushed back with the help of the Spanish forces in the Spanish Netherlands, the conflict eventually ended with the Treaties of Nijmegen in 1678-9. These tensions had escalated in 1650 when William II, Prince of Orange had tried to conquer Amsterdam, after negotiations he succeeded in removing a number of his adversaries from office. When William died from smallpox later that year, the party came back into power. Johan de Witt was appointed Grand Pensionary of Holland and led the States of Holland, to appease the Orangists, and because of their own business interests, the Dutch Regents tried to keep the peace within Europe. When the Republic fought for its independence from Spain, it had allied with France, in 1648, as part of the Peace of Westphalia, the Republic made peace with Austria and Spain. France had only made peace with Austria and continued fighting Spain until the Treaty of the Pyrenees in 1659, a condition of that peace was that Louis XIV would marry Maria Theresa, daughter of Philip IV of Spain. Maria Theresa would also renounce her share of the inheritance in exchange for a large dowry, the dowry, however, was never paid by the Spanish. During the 1650s and 1660s the existing tensions between Dutch trade interests and English trade interests grew, the First Anglo-Dutch War was fought between the republics, resulting in a victory for the English. Oliver Cromwell, who was Lord Protector of England at that time, an English attempt to take over Dutch trade and colonies led to the Second Anglo-Dutch War. After the previous war Johan de Witt had supervised the expansion, First Münster and then England were forced to make peace. While France had helped to put pressure on England and Münster they had not committed a major part of their army or fleet, after the death of Philip IV, Louis XIV claimed part of the inheritance for his wife. According to local law in parts of the Spanish Netherlands daughters of a marriage took precedence before the sons of a later marriage. The way Louis XIV explained this, Maria Theresa, daughter of the first marriage of Philip IV, should inherit the Spanish Netherlands because Philips son and this went against the interests of the Dutch Republic, who preferred having a weak state as their neighbour to the south. Because of this, Johan de Witt allied with the defeated English and Sweden, in secret clauses of the treaty they agreed to use force if Louis XIV would not come to terms with Spain. France made peace with Spain, but because the secret clauses of the Triple Alliance were soon made public, Louis XIV felt insulted by the perfidious Dutch, immediately after the peace agreement, France took steps to isolate the Republic

22.
Amsterdam Museum
–
The Amsterdam Museum, until 2011 called the Amsterdams Historisch Museum, is a museum about the history of Amsterdam. Since 1975, it is located in the old city orphanage between Kalverstraat and Nieuwezijds Voorburgwal, the museum opened in 1926 in the Waag, one of Amsterdams 15th-century city gates. It has been located since 1975 in a building that was constructed in 1580 as Amsterdams municipal orphanage. The building was extended by Hendrick and his son Pieter de Keyser, the orphanage operated in this building until 1960. The museum exhibits items related to the history of Amsterdam. As of 2011, the museum manages 70,000 objects kept in various buildings, of those, approximately 25,000 have been photographed and are available to the public online. This includes all objects that were already free of copyright. The museum has on display paintings, models, archeological findings, photographs, but also less likely items such as a carillon, a Witkar

Amsterdam Museum
–
Courtyard of the museum
Amsterdam Museum
–
The coat of arms of Amsterdam above the entrance to the museum
Amsterdam Museum
–
Regents of the old city orphanage, painting by Abraham de Vries can still be seen in the wall of the regent's room where it was installed in 1633
Amsterdam Museum
–
One of the modern galleries in Amsterdam Museum

23.
Mauritshuis
–
The Mauritshuis is an art museum in The Hague in the Netherlands. The museum houses the Royal Cabinet of Paintings which consists of 841 objects, the collections contains works by Johannes Vermeer, Rembrandt van Rijn, Jan Steen, Paulus Potter, Frans Hals, Jacob van Ruisdael, Hans Holbein the Younger, and others. Originally, the 17th century building was the residence of count John Maurice of Nassau and it is now the property of the government of the Netherlands and is listed in the top 100 Dutch heritage sites. On the plot, the Mauritshuis was built between 1636 and 1641, during John Maurices governorship of Dutch Brazil, the Dutch Classicist building was designed by the Dutch architects Jacob van Campen and Pieter Post. The two-storey building is symmetrical and contained four apartments and a great hall. Each apartment was designed with an antechamber, a chamber, a cabinet, originally, the building had a cupola, which was destroyed in a fire in 1704. After the death of Prince John Maurice in 1679, the house was owned by the Maes family, in 1704, most of the interior of the Mauritshuis was destroyed by fire. The building was restored between 1708 and 1718, in 1820, the Mauritshuis was bought by the Dutch state for the purpose of housing the Royal Cabinet of Paintings. In 1822, the Mauritshuis was opened to the public and housed the Royal Cabinet of Paintings, in 1875, the entire museum became available for paintings. The Mauritshuis was privatised in 1995, the foundation set up at that time took charge of both the building and the collection, which it was given on long-term loan. This building, which is the property of the state, is rented by the museum, in 2007, the museum announced its desire to expand. In 2010, the design was presented. The museum would occupy a part of the nearby Sociëteit de Witte building, the two buildings would be connected via an underground tunnel, running underneath the Korte Vijverberg. The renovation started in 2012 and finished in 2014, during the renovation, about 100 of the museums paintings were displayed in the Gemeentemuseum in the Highlights Mauritshuis exhibition. About 50 other paintings, including the Girl With the Pearl Earring, were on loan to exhibitions in the United States, the museum was reopened on 27 June 2014 by King Willem-Alexander. The collection of paintings of stadtholder William V, Prince of Orange was presented to the Dutch state by his son and this collection formed the basis of the Royal Cabinet of Paintings of around 200 paintings. The collection is called the Royal Picture Gallery. There are also works of Hans Holbein in the collection in the Mauritshuis, the Mauritshuis was state museum until 1995, when it became independent

24.
Madrid
–
Madrid is the capital city of the Kingdom of Spain and the largest municipality in both the Community of Madrid and Spain as a whole. The city has a population of almost 3.2 million with an area population of approximately 6.5 million. It is the third-largest city in the European Union after London and Berlin, the municipality itself covers an area of 604.3 km2. Madrid lies on the River Manzanares in the centre of both the country and the Community of Madrid, this community is bordered by the communities of Castile and León. As the capital city of Spain, seat of government, and residence of the Spanish monarch, Madrid is also the political, economic, the current mayor is Manuela Carmena from Ahora Madrid. Madrid is home to two football clubs, Real Madrid and Atlético de Madrid. Madrid is the 17th most liveable city in the according to Monocle magazine. Madrid organises fairs such as FITUR, ARCO, SIMO TCI, while Madrid possesses modern infrastructure, it has preserved the look and feel of many of its historic neighbourhoods and streets. Cibeles Palace and Fountain have become one of the monument symbols of the city, the first documented reference of the city originates in Andalusan times as the Arabic مجريط Majrīṭ, which was retained in Medieval Spanish as Magerit. A wider number of theories have been formulated on possible earlier origins, according to legend, Madrid was founded by Ocno Bianor and was named Metragirta or Mantua Carpetana. The most ancient recorded name of the city Magerit comes from the name of a built on the Manzanares River in the 9th century AD. Nevertheless, it is speculated that the origin of the current name of the city comes from the 2nd century BC. The Roman Empire established a settlement on the banks of the Manzanares river, the name of this first village was Matrice. In the 8th century, the Islamic conquest of the Iberian Peninsula saw the changed to Mayrit, from the Arabic term ميرا Mayra. The modern Madrid evolved from the Mozarabic Matrit, which is still in the Madrilenian gentilic, after the disintegration of the Caliphate of Córdoba, Madrid was integrated in the Taifa of Toledo. With the surrender of Toledo to Alfonso VI of León and Castile, the city was conquered by Christians in 1085, Christians replaced Muslims in the occupation of the centre of the city, while Muslims and Jews settled in the suburbs. The city was thriving and was given the title of Villa, since 1188, Madrid won the right to be a city with representation in the courts of Castile. In 1202, King Alfonso VIII of Castile gave Madrid its first charter to regulate the municipal council, which was expanded in 1222 by Ferdinand III of Castile

25.
Rijksmuseum Amsterdam
–
The Rijksmuseum is a Dutch national museum dedicated to arts and history in Amsterdam. The museum is located at the Museum Square in the borough Amsterdam South, close to the Van Gogh Museum, the Stedelijk Museum Amsterdam, and the Concertgebouw. The Rijksmuseum was founded in The Hague in 1800 and moved to Amsterdam in 1808, the current main building was designed by Pierre Cuypers and first opened its doors in 1885. On 13 April 2013, after a renovation which cost €375 million. In 2013 and 2014, it was the most visited museum in the Netherlands with record numbers of 2.2 million and 2.47 million visitors and it is also the largest art museum in the country. The museum also has a small Asian collection, which is on display in the Asian pavilion, in 1795, the Batavian Republic was proclaimed. The Minister of Finance Isaac Gogel argued that a museum, following the French example of The Louvre. On 19 November 1798, the government decided to found the museum, on 31 May 1800, the National Art Gallery, precursor of the Rijksmuseum, opened its doors in Huis ten Bosch in The Hague. The museum exhibited around 200 paintings and historic objects from the collections of the Dutch stadtholders, in 1805, the National Art Gallery moved within The Hague to the Buitenhof. In 1806, the Kingdom of Holland was established by Napoleon Bonaparte, on the orders of king Louis Bonaparte, brother of Napoleon, the museum moved to Amsterdam in 1808. The paintings owned by city, such as The Night Watch by Rembrandt. In 1809, the museum opened its doors in the Royal Palace in Amsterdam, in 1817, the museum moved to the Trippenhuis. The Trippenhuis turned out to be unsuitable as a museum, in 1820, the historical objects were moved to the Mauritshuis in The Hague, and in 1838 the 19th-century paintings were moved to Paviljoen Welgelegen in Haarlem. In 1863, there was a design contest for a new building for the Rijksmuseum, Pierre Cuypers also participated in the contest and his submission reached the second place. In 1876 a new contest was held and this time Pierre Cuypers won, the design was a combination of gothic and renaissance elements. The construction began on 1 October 1876, on both the inside and the outside, the building was richly decorated with references to Dutch art history. Another contest was held for these decorations, the winners were B. van Hove and J. F. Vermeylen for the sculptures, G. Sturm for the tile tableaus and painting and W. F. Dixon for the stained glass. The museum was opened at its new location on 13 July 1885, in 1890 a new building was added a short distance to the south-west of the Rijksmuseum

26.
Maryland
–
The states largest city is Baltimore, and its capital is Annapolis. Among its occasional nicknames are Old Line State, the Free State, the state is named after Henrietta Maria of France, the wife of Charles I of England. George Calvert was the first Lord of Baltimore and the first English proprietor of the colonial grant. Maryland was the state to ratify the United States Constitution. Maryland is one of the smallest U. S. states in terms of area, as well as one of the most densely populated, Maryland has an area of 12,406.68 square miles and is comparable in overall area with Belgium. It is the 42nd largest and 9th smallest state and is closest in size to the state of Hawaii, the next largest state, its neighbor West Virginia, is almost twice the size of Maryland. Maryland possesses a variety of topography within its borders, contributing to its nickname America in Miniature. The mid-portion of this border is interrupted by Washington, D. C. which sits on land that was part of Montgomery and Prince Georges counties and including the town of Georgetown. This land was ceded to the United States Federal Government in 1790 to form the District of Columbia, the Chesapeake Bay nearly bisects the state and the counties east of the bay are known collectively as the Eastern Shore. Close to the town of Hancock, in western Maryland, about two-thirds of the way across the state. This geographical curiosity makes Maryland the narrowest state, bordered by the Mason–Dixon line to the north, portions of Maryland are included in various official and unofficial geographic regions. Much of the Baltimore–Washington corridor lies just south of the Piedmont in the Coastal Plain, earthquakes in Maryland are infrequent and small due to the states distance from seismic/earthquake zones. The M5.8 Virginia earthquake in 2011 was felt moderately throughout Maryland, buildings in the state are not well-designed for earthquakes and can suffer damage easily. The lack of any glacial history accounts for the scarcity of Marylands natural lakes, laurel Oxbow Lake is an over one-hundred-year-old 55-acre natural lake two miles north of Maryland City and adjacent to Russett. Chews Lake is a natural lake two miles south-southeast of Upper Marlboro. There are numerous lakes, the largest of them being the Deep Creek Lake. Maryland has shale formations containing natural gas, where fracking is theoretically possible, as is typical of states on the East Coast, Marylands plant life is abundant and healthy. Middle Atlantic coastal forests, typical of the southeastern Atlantic coastal plain, grow around Chesapeake Bay, moving west, a mixture of Northeastern coastal forests and Southeastern mixed forests cover the central part of the state

27.
Utah Museum of Fine Arts
–
The Utah Museum of Fine Arts is the regions primary resource for culture and visual arts. It is located in the Marcia and John Price Museum Building in Salt Lake City, works of art are displayed on a rotating basis. It is a university and state art museum, UMFA galleries are temporarily closed for remodeling and reinstallation and will reopen August 26,2017. The UMFAs Dumke Auditorium, museum store, and museum cafe have reopened to the public, UMFA is accredited by the American Alliance of Museums. It has a cafe and store located inside the building along with more than 20 galleries, the museums permanent art collections include over 17,000 works of art. The different cultures represented include African, Oceanic and the New World, Asian, European, American, and the Ancient and Classical World. The creation of an art gallery on the top floor of the University of Utahs Park Building in the early 1900s marks the beginning of the Utah Museum of Fine Arts. In the beginning, paintings by local artists filled this three-room gallery, through the next six decades, the art department at the University of Utah received major art gifts and specific requests from donors to remodel the gallery into a museum. After the renovation of the gallery was finished, the University’s president, ray Olpin, established it as the Utah Museum of Fine Arts on May 6,1951. In 1967, Frank Sanquineti was appointed as the first professional director, by this time, the museum had entered a new period of growth which resulted in the building of a new museum. After the museum’s relocation in 1970, its goal was to expand its collections, over the years this annual fund has helped support the expansion of the museum’s collections and its ability to offer art education programs. Since the mid-1900s, when the collection was around 800 objects and this huge expansion required the building of yet another museum, and construction of a new 70, 000-square-foot building was started in 1997. The UMFA opened in the Marcia and John Price Museum Building on June 2,2001, since the second relocation, the UMFA has experienced unprecedented growth in all areas of operation. In April 2009, David Dee resigned from the museum and Gretchen Dietrich was named Executive Director effective August 2010, represented American artists include Benjamin West, Gilbert Stuart, Thomas Cole, Albert Bierstadt, and John Singer Sargent. Modern and contemporary holdings include Helen Frankenthaler, Yayoi Kusama, Nancy Holt, the museums non-Western collections have particular strength in works from India, Polynesia, and Mesoamerica. In August 2004, the learned that an oil painting that had been stolen during the Holocaust had found its way into the museums collection by donation in 1993. The museum returned the art to the heirs of its original owner, the piece was the 18th-century Les Amoureaux Jeunes by Francois Boucher. It had been stolen by Nazi Hermann Goering from the collection of French Jewish art gallery owner Andre Jean Seligmann in 1946 during the Nazi occupation of France, the Utah Museum of Fine Arts offers family, adult and childrens programs along with tours for visitors

Utah Museum of Fine Arts
–
Marcia & John Price Museum Building

28.
Museum de Fundatie
–
Museum de Fundatie is a museum for the visual arts in Zwolle. Museum de Fundatie forms part of the Hannema-de Stuers Foundation, to which Kasteel het Nijenhuis in Heino also belongs, as well as the permanent collection, Museum de Fundatie organises new, wide-ranging exhibitions every three months. Museum de Fundatie recorded a number of 310,000 visitors in 2015. Museum de Fundatie was founded in 1958 and its original location is Kasteel Het Nijenhuis, a 17th-century castle near the villages of Heino and Wijhe, which was the residence of museum founder Dirk Hannema. From 1991 until 2005, the Bergkerk, a church in the city of Deventer, was the secondary location of the museum used for temporary exhibitions. Since 2005, the Paleis aan de Blijmarkt, a court building in the city of Zwolle, is the second location of the museum. The location in Zwolle was closed for renovation on 8 January 2012, the museums collection is divided over two locations, Designed by Eduard Louis de Coninck of The Hague, this former Palace of Justice was built in the neo-classicist style between 1838 and 1841. The court building was revamped by architect Arne Mastenbroek during the nineteen eighties to serve as the new office for the national planning service’s information department. Mastenbroek’s second renovation in 1994 saw the palace become a fully fledged museum, between 1994 and 2001, the building accommodated the Museum for Naive and Outsider Art. In 2004-2005, the court house was renovated by architect Gunnar Daan to offer space for Museum de Fundatie. The museum was expanded in 2012-2013 with the addition of new space on the roof of the existing building. This egg-shaped extension was designed by Bierman Henket architects, built in the 14th century, Het Nijenhuis manor is situated near the village of Heino. Officially however, it lies within the municipality of Olst-Wijhe, the building belongs to the Province of Overijssel and Dirk Hannema lived here from 1958 until his death in 1984. Art collector Hannema was, among other things, the director of Museum Boijmans Van Beuningen and he left his collection to the Hannema-de Stuers Foundation and therefore to Museum De Fundatie. Het Nijenhuis was opened to the public after restoration in 2004, the sculpture garden surrounding the manor is one of the Netherlands’ larger ones. The garden displays more than ninety 20th and 21st century sculptures, the museum collection is originally based on the eclectic art collection of Dirk Hannema, former museum director of Museum Boijmans Van Beuningen in Rotterdam. Since 1993, the collection of the Province of Overijssel is also managed by the museum, the collection contains over 7,000 paintings, drawings, prints, sculptures, and other objects. In 2010, the Van Gogh painting The blute-fin mill was authenticated by the Van Gogh Museum, waanders/Museum de Fundatie, Zwolle/Heino etc.160 p. ISBN 90-400-8990-6

Museum de Fundatie
–
Paleis aan de Blijmarkt, the museum location in Zwolle, in 2013
Museum de Fundatie
–
Museum location in Zwolle in the province Overijssel
Museum de Fundatie
–
Kasteel Het Nijenhuis in Heino/Wijhe in 2010
Museum de Fundatie
–
Interior of the Bergkerk in Deventer in 2002

29.
Snite Museum of Art
–
The Snite Museum of Art is a fine art museum on the University of Notre Dame campus, near South Bend, Indiana. It owns over 23,000 works which represent many principal world cultures and periods and it is particularly known for its Italian Renaissance paintings and their Mesoamerican galleries. According to the website. the museum now exhibits the most important collection of Olmec art in any art museum in the United States, the Unruh purchase reinforces the Museums position as one of the most important general pre-Columbian collections in this country. Before the Snite opened in 1980, Notre Dame did not have an art museum, as early as 1924, the Wightman Memorial Art Gallery at University Library was used for art exhibitions. In 1952, OShaughnessy Hall, home of the College of Arts, during the 1950s, Croatian sculptor Ivan Meštrović was in residence at the University, working in the eponymous Meštrović Studio. Snite family donated funds to construct the Snite Museum of Art, the museum opened in 1980, incorporating both Meštrovićs sculpture studio and the OShaughnessy art gallery, the latter used for the presentation of traveling and temporary exhibitions. The Snite holds paintings by such as Taddeo di Bartolo, Bernardino Luini, Memling, Francesco de Mura, Fiammingo, Corot, Gustave Colin, Walter Sickert. It has 18th-century paintings by François Boucher, Jean François de Troy, Carle Van Loo, and it also has 19th-century paintings by Léon Cogniet, Gustave Courbet, Thomas Couture, Charles-François Daubigny, Jean-Léon Gérôme, Alphonse Legros, Georges Michel, and Alexandre-Hyacinthe Dunouy. Americans represented with paintings at art museum include Diego Lasansky, Marsden Hartley, Mauricio Lasansky, Milton Avery, Ralston Crawford. 20th century painters also represented include Paula Modersohn-Becker, Natalia Goncharova, Joan Miró, Joaquín Torres García, Georgia OKeeffe, Philip Pearlstein, there are also sculptings by Ivan Meštrović

30.
Democritus
–
Democritus was an influential Ancient Greek pre-Socratic philosopher primarily remembered today for his formulation of an atomic theory of the universe. Democritus was born in Abdera, Thrace, around 460 BC, although and his exact contributions are difficult to disentangle from those of his mentor Leucippus, as they are often mentioned together in texts. Largely ignored in ancient Athens, Democritus is said to have been disliked so much by Plato that the latter wished all of his books burned and he was nevertheless well known to his fellow northern-born philosopher Aristotle. Many consider Democritus to be the father of modern science, none of his writings have survived, only fragments are known from his vast body of work. Democritus was said to be born in the city of Abdera in Thrace and he was born in the 80th Olympiad according to Apollodorus of Athens, and although Thrasyllus placed his birth in 470 BC, the later date is probably more likely. John Burnet has argued that the date of 460 is too early since, according to Diogenes Laërtius ix.41 and it was said that Democrituss father was from a noble family and so wealthy that he received Xerxes on his march through Abdera. Democritus spent the inheritance which his father left him on travels into distant countries and he traveled to Asia, and was even said to have reached India and Ethiopia. It is known that he wrote on Babylon and Meroe, he visited Egypt and he himself declared that among his contemporaries none had made greater journeys, seen more countries, and met more scholars than himself. He particularly mentions the Egyptian mathematicians, whose knowledge he praises, theophrastus, too, spoke of him as a man who had seen many countries. During his travels, according to Diogenes Laërtius, he acquainted with the Chaldean magi. Ostanes, one of the magi accompanying Xerxes, was said to have taught him. After returning to his land he occupied himself with natural philosophy. He traveled throughout Greece to acquire a knowledge of its cultures. He mentions many Greek philosophers in his writings, and his wealth enabled him to purchase their writings, Leucippus, the founder of atomism, was the greatest influence upon him. Diogenes Laertius says that he was friends with Hippocrates and he may have been acquainted with Socrates, but Plato does not mention him and Democritus himself is quoted as saying, I came to Athens and no one knew me. Aristotle placed him among the natural philosophers. The many anecdotes about Democritus, especially in Diogenes Laërtius, attest to his disinterest, modesty, and simplicity, one story has him deliberately blinding himself in order to be less disturbed in his pursuits, it may well be true that he lost his sight in old age. He was cheerful, and was ready to see the comical side of life

31.
Heraclitus
–
Heraclitus of Ephesus was a pre-Socratic Greek philosopher, and a native of the city of Ephesus, then part of the Persian Empire. Little is known about his life and education, but he regarded himself as self-taught. Heraclitus was famous for his insistence on ever-present change as being the essence of the universe, as stated in the famous saying. This position was complemented by his commitment to a unity of opposites in the world, stating that the path up and down are one. Through these doctrines Heraclitus characterized all existing entities by pairs of contrary properties and this, along with his cryptic utterance that all entities come to be in accordance with this Logos has been the subject of numerous interpretations. Diogenes said that Heraclitus flourished in the 69th Olympiad, 504–501 BC, All the rest of the evidence — the people Heraclitus is said to have known, or the people who were familiar with his work — confirms the floruit. His dates of birth and death are based on a span of 60 years. Heraclitus was born to a family in Ephesus, in the Persian Empire, in what is now called present-day Efes. His father was named either Blosôn or Herakôn, how much power the king had is another question. Ephesus had been part of the Persian Empire since 547 and was ruled by a satrap, two extant letters between Heraclitus and Darius I, quoted by Diogenes, are undoubtedly later forgeries. With regard to education, Diogenes says that Heraclitus was wondrous from childhood, Diogenes relates that Sotion said he was a hearer of Xenophanes, which contradicts Heraclitus statement that he had taught himself by questioning himself. Burnet states in any case that, Xenophanes left Ionia before Herakleitos was born. Diogenes relates that as a boy Heraclitus had said he knew nothing and his statement that he heard no one but questioned himself, can be placed alongside his statement that the things that can be seen, heard and learned are what I prize the most. Diogenes relates that Heraclitus had an opinion of human affairs. He believed that Hesiod and Pythagoras lacked understanding though learned and that Homer, laws needed to be defended as though they were city walls. Timon is said to have called him a mob-reviler, Heraclitus hated the Athenians and his fellow Ephesians, wishing the latter wealth in punishment for their wicked ways. Says Diogenes, Finally, he became a hater of his kind, making his diet of grass and herbs. Heraclitus life as a philosopher was interrupted by dropsy, the physicians he consulted were unable to prescribe a cure

Heraclitus
–
Heraclitus by Johannes Moreelse. The image depicts him as "the weeping philosopher" wringing his hands over the world, and as "the obscure" dressed in dark clothing—both traditional motifs
Heraclitus
–
Ephesus on the coast of Asia Minor, birthplace of Heraclitus
Heraclitus
–
Heraclitus (with the face and in the style of Michelangelo) sits apart from the other philosophers in Raphael 's School of Athens.
Heraclitus
–
Bust of Heraclitus, 'The Weeping Philosopher' by Johann Christoph Ludwig Lücke ca. 1757.

32.
List of paintings by Rembrandt
–
The following is a list of paintings by Rembrandt that are generally accepted as autograph by the Rembrandt Research Project. A Corpus of Rembrandt Paintings II, a Corpus of Rembrandt Paintings III. Levie, S. H. van Thiel, P. J. J. van de Wetering, a Corpus of Rembrandt Paintings IV. van de Wetering, Ernst. A Corpus of Rembrandt Paintings V. van de Wetering, Ernst, a Corpus of Rembrandt Paintings VI, Rembrandt’s Paintings Revisited – A Complete Survey

List of paintings by Rembrandt
–
The Spectacles-pedlar (Sight)
List of paintings by Rembrandt
–
The Three Singers (Hearing)
List of paintings by Rembrandt
–
Christ Driving the Money-changers from the Temple
List of paintings by Rembrandt
–
The Stoning of St. Stephen

33.
The Anatomy Lesson of Dr. Nicolaes Tulp
–
The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. Dr. Nicolaes Tulp is pictured explaining the musculature of the arm to medical professionals, some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt and this may be the first instance of Rembrandt signing a painting with his forename as opposed to the monogramme RHL, and is thus a sign of his growing artistic confidence. The spectators are appropriately dressed for this social occasion and it is thought that the uppermost and farthest left figures were added to the picture later. It was his first major commission in Amsterdam, each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures probably paid more, even twice as much. Rembrandts image is a fiction, in an anatomy lesson. One person is missing, the Preparator, whose task was to prepare the body for the lesson, in the 17th century an important scientist such as Dr. Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments, instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica by Andreas Vesalius. The corpse is that of the criminal Aris Kindt, who was convicted for armed robbery and he was executed earlier on the same day of the scene. The face of the corpse is partially shaded, a suggestion of umbra mortis, Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in Laird Hunts 2006 novel The Exquisite. Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt and it is not known where he obtained such knowledge, it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver and it is the common extensor origin that originates at the lateral epicondyle. In a 2007 study, the American artist and anatomist David J, the Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp. Deijman was Tulps immediate successor in the post of praelector chirugic et anatomie, the painting was damaged by fire in 1723, and only a central fragment survives. Around 1856 Édouard Manet visited The Hague and made an oil on panel copy of The Anatomy Lesson. Broadly painted in a palette, Manet gave the painting to his physician. A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection, in 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille

34.
Jacob de Gheyn III
–
Jacob de Gheyn III, also known as Jacob III de Gheyn, was a Dutch Golden Age engraver, son of Jacob de Gheyn II, canon of Utrecht, and the subject of a 1632 oil painting by Rembrandt. The portrait is half of a pair of pendent portraits, the other piece is a portrait of de Gheyns friend Maurits Huygens, wearing similar clothing and facing the opposite direction. De Gheyn learned engraving from his father, who was a favored royal artist who designed a garden in the Hague for the royal family and this was a shared interest with the Huygens family who lived close by. The younger De Gheyn studied in Leiden with Constantijn and Maurits Huygens, excepting tours of London in 1618 with the Huygens brothers and Sweden in 1620, De Gheyn lived in the Hague until 1634, when he moved to Utrecht to become canon of St Marys church. His engravings became known though the writings of Aernout van Buchel who admired his work, the painting of De Gheyn in Dulwich Picture Gallery is smaller than most of Rembrandts works, measuring only 29.9 by 24.9 centimetres. It has been numerous times, and its size is one factor that has contributed to its numerous thefts. Huygens and de Gheyn had commissioned Rembrandt to paint them in identical formats, the friends had agreed that the first of them to die would receive the painting owned by the other, as evidenced by inscriptions on their reverse. They were reunited when de Gheyn died, Maurits Huygens survived De Gheyn by less than a year however, and his brother Constantijn Huygens was so heartbroken that he stopped writing for a long period. Between 14 August 1981 and 3 September 1981 the painting was taken from Dulwich Picture Gallery, a little under two years later a burglar smashed a skylight and descended through it into the art gallery, using a crowbar to remove the painting from the wall. The police arrived within three minutes but were too late to apprehend the thief, the painting was missing for three years, eventually being found on 8 October 1986 in a luggage rack at the train station of a British army garrison in Münster, Germany. The other two times, the painting was found once underneath a bench in a graveyard in Streatham, each time the painting has been returned anonymously with more than one person being charged for its disappearance

35.
Philosopher in Meditation
–
Philosopher in Meditation is the traditional title of an oil painting in the Musée du Louvre, Paris, that has long been attributed to the 17th-century Dutch artist Rembrandt. It is signed RHL-van Rijn and dated 1632, at the time of Rembrandts move from Leiden to Amsterdam, recent scholarship suggests that the painting depicts Tobit and Anna waiting for their son Tobias instead. The painting appeared in Paris around the middle of the 18th century, the popularity of the painting may be measured by its presence on the internet, where it is often used as an emblem of philosophy, or interpreted along esoteric or occult lines. Painted in oils on an oak panel measuring about 11 x 13 in, the painting depicts in slightly accelerated perspective two figures in a partially vaulted interior that is dominated by a wooden spiral staircase. The architecture includes stone, brick and wood, with arched elements that create an impression of monumentality, as in the staircase and the basketwork tray at the center of the composition, the curved lines can be said to organize the straight lines. The first figure is that of an old man seated at a table in front of a window, his head bowed, the second figure is that of an old woman tending a fire in an open hearth. As it is, the painting is quite dark due to the aging of the varnish. The panel is signed RHL-van Rijn 163_ at the bottom and left of the center, the signature is traced in light pigment on a dark background and is quite difficult to make out. The last digit is a blob of paint, the form. The type of signature—monogram plus patronymic—would argue for 1632, for the artist used this type of only in this year. This does not mean that the picture was painted in that year or even in Amsterdam, in any case, this type of signature is so rare in Rembrandts oeuvre and date-specific that it argues for authenticity. While the traditional title Philosopher in Meditation has to a large extent been responsible for the paintings popularity, staircases—whether spiral or not—were not an attribute of philosophy in the early 17th century. Similar observations argue against identifying the figure as an alchemist. The objects depicted suggest a setting, yet the improbable architecture speaks more for a history than a genre subject. The French art historian Jean-Marie Clarke argues that the scene is derived from the Book of Tobit. The sole objection to this interpretation is that, apart from the two main figures—the blind Tobit and his wife Anna— there is no identifying attribute, such as Annas spinning wheel. Nevertheless, an interpretation of the scene is Tobit and Anna waiting for the return of their only son, Tobias. This is supported by an 18th-century source identifying a painting of the dimensions by Rembrandt representing a Composition with Tobit

Philosopher in Meditation
–
Philosopher in Meditation (or Interior with Tobit and Anna) by Rembrandt
Philosopher in Meditation
–
Engraved reproduction by Devilliers l'aîné after Rembrandt's Philosopher in Meditation (1814)
Philosopher in Meditation
–
Anna and the Blind Tobit by Rembrandt and Dou (1630)
Philosopher in Meditation
–
Philosopher with an Open Book by Salomon Koninck

36.
Artemisia (Rembrandt)
–
Artemisia Receiving Mausolus Ashes is a painting by the Dutch master Rembrandt. It is housed in the Museo del Prado of Madrid, Spain and it is signed REMBRANDT F,1634. The subject of the picture is still unclear and it portrays a young woman, variously identified as Sophonisba or Artemisia, or a generic queen due to her jewels and rich garments, receiving a cup from a maiden. The cup would contain the ashes of Artemisias husband, King Mausolus, or, in the case of Sophonisba, for the woman, Rembrandt probably used his wife Saskia as model

Artemisia (Rembrandt)
–
Artemisia

37.
The Descent from the Cross (Rembrandt, 1634)
–
Rembrandt Harmenszoon van Rijn’s Descent from the Cross is one of his many religious scenes. The piece is oil on canvas and now located in the Hermitage Museum in St. Petersburg, the piece is intriguing stylistically in its unique figural composition and variety of lighting effects. Descent from the Cross is a scene in religious themed art and, like many artists before and after him. In the Hermitage edition of the work, the arrangement is quite complex. While the scene is crowded, each person in the image has a facial expression. This emotion is shown in the weeping, open mourning of the women, Jesus’ mother, Mary, is portrayed in the work as unconscious, having fainted from the overwhelming grief and sadness. She is portrayed as physically, and likely mentally, supported by the other bystanders, Jesus himself is portrayed in a realistic fashion, with his body slumped and twisted rather unsettlingly as he is carried down the cross displaying the lifeless quality of his form. Jesus’ physical body shape is rounded, almost Ruben-esque, raising the question of whether Rembrandt was influenced by Rubens’ notably voluptuous figures. Also evident on the body are the marks of the thorn crown, lighting of this image is very elaborate and strategized upon certain figures creating groupings of bystanders. The intensity of the light is highly varied, the lightest and brightest areas are on Jesus’ body, promoting it as the focal point of the piece, and the darkest area in the unlit, nearly black, inky background. Various torches and candles provide the light shed on the figures, the different types of candles and torches provide different intensities of light. Although varying in degree, light specifically illuminates, and delineates and these groups are Jesus and the people carrying him, women laying out what appears to be a burial cloth, and Mary and her supporters. This strategic lighting seems to create a sort of order to the work, shedding light on what has happened, what will happen next, Rembrandt often uses religious scenes and imagery in his paintings. Rembrandt’s family was well off, with his father being a miller. Although he later created many works, Rembrandt was not raised in the church. His mother was a Roman Catholic, and father belonged to the Dutch Reformed Church, however, there is no evidence that Rembrandt belonged to a church. Throughout Rembrandt’s youth and the years of his career, the Netherlands was undergoing huge changes in religion in the form of the third wave of the Protestant Reformation. The third wave of the Reformation was followed closely by a campaign by the Roman Catholic Jesuits to try

The Descent from the Cross (Rembrandt, 1634)
–
Notes [edit]

38.
The Prodigal Son in the Brothel
–
The Prodigal Son in the Brothel is a painting by the Dutch master Rembrandt. It is housed in the Gemäldegalerie Alte Meister of Dresden, Germany and it portrays two people who had been identified as Rembrandt himself and his wife Saskia. In the Protestant contemporary world, the theme of the son was a frequent subject for works of art due to its moral background. Rembrandt himself painted a Return of the Prodigal Son in 1669, the left side of the canvas was cut, perhaps by the artist himself, to remove secondary characters and focus the observers attention on the main theme. The pigment analysis shows Rembrandts choice of the usual pigments such as red ochre, lead-tin-yellow, madder lake and smalt. The painting in the State Art Gallery in Dresden Rembrandt, Self-Portrait with Saskia, ColourLex

The Prodigal Son in the Brothel
–
The Prodigal Son in the Brothel

39.
A Polish Nobleman
–
A Polish Nobleman is a 1637 painting by Rembrandt depicting a man in a costume of either Polish szlachta or boyar nobility. The identity of the subject of the painting is unclear, and has given rise to different interpretations. The view that the dress is clearly Polish is not universally held. The painting has changed several times, and its past owners have included Catherine II the Great. It is currently located at the National Gallery of Art in Washington, the portrait represents a man, estimated by some to be 45 years of age, standing turned to the viewers right, looking at the viewer with a commanding expression. In his uplifted right hand he holds a baton with a golden cap and he has a thick moustache and wears a high fur cap on which there is a golden chain with precious stones and a coat of arms in the center. From his ear a large pear-shaped pearl hangs from a golden pendant earring. He wears a mantle with a broad fur collar and, over it. A full light from the falls on the right side of his face. The painting was created by Rembrandt in 1637 and it was not given an official title. The current one is the most recent, widely accepted one, prior and alternate names include Portrait of a Slav Prince, Portrait dun Turc, and Man in Russian Costume. Its authenticity was supported by an analysis of the panels wood, the painting underwent restoration in 1985 and has been X-rayed. The paintings first owner or owners are not clear, but it might have been owned by a certain Harman van Swole and it was purchased in 1768 by Catherine II the Great and held in the Hermitage Museum in Saint Petersburg. It was purchased by Andrew Mellon in 1931, and given by the Mellon Trust to the National Gallery of Art in Washington, the painting was one of a number of artworks that Mellon had purchased from the Hermitage during the 1930s. He denied having made these purchases for several years, since the US was in a major depression — which would have made the acquisitions seem extravagant — and at odds with the Soviet government. The works were kept for some time in a section of the Corcoran Gallery of Art in Washington. This work was labeled by some art critics as a tronie, scholars have attempted for more than a century to understand who is portrayed in this painting. Earlier proposals that the subject was John III Sobieski or Stephen Bathory have been discredited, according to Otakar Odložilík, while the man in the painting is clearly wearing Polish garb, it is neither certain who he is, nor whether he is a Pole

A Polish Nobleman
–
A Polish Nobleman

40.
The Night Watch
–
It is in the collection of the Amsterdam Museum but is prominently displayed in the Rijksmuseum as the best known painting in its collection. The Night Watch is one of the most famous Dutch Golden Age paintings and is window 16 in the Canon of Amsterdam, the painting was completed in 1642, at the peak of the Dutch Golden Age. It depicts the eponymous company moving out, led by Captain Frans Banning Cocq and his lieutenant, behind them, the companys colours are carried by the ensign, Jan Visscher Cornelissen. Rembrandt has displayed the emblem of the arquebusiers in a natural way. She is a kind of mascot herself, the claws of a chicken on her belt represent the clauweniers. The man in front of her is wearing a helmet with an oak leaf, the dead chicken is also meant to represent a defeated adversary. The colour yellow is associated with victory. Another interpretation proposes that Rembrandt designed this painting with several layers of meaning, thus, the Night Watch is symmetrically divided, firstly to illustrate the union between the Dutch Protestants and the Dutch Catholics, and secondly to evoke the war effort against the Spaniards. For instance, according to Rembrandts multilayered design, the taller captain symbolizes the Dutch Protestant leadership, moreover, all characters of this painting were conceived to present double readings. One of the most important aspects of the Night Watch is that the figures are nearly human size, Rembrandt gives the illusion that the characters jump off the canvas and into real space. For much of its existence, the painting was coated with a dark varnish and this varnish was removed only in the 1940s. In 1715, upon its removal from the Kloveniersdoelen to the Amsterdam Town Hall and this was done, presumably, to fit the painting between two columns and was a common practice before the 19th century. This alteration resulted in the loss of two characters on the side of the painting, the top of the arch, the balustrade. This balustrade and step were key visual tools used by Rembrandt to give the painting a forward motion, a 17th-century copy of the painting by Gerrit Lundens at the National Gallery, London shows the original composition. The painting was commissioned by Captain Banning Cocq and seventeen members of his Kloveniers, eighteen names appear on a shield, painted circa 1715, in the centre right background, as the hired drummer was added to the painting for free. A total of 34 characters appear in the painting, Rembrandt was paid 1,600 guilders for the painting, a large sum at the time. This was one of a series of seven paintings of the militiamen commissioned during that time from various artists. The painting was commissioned to hang in the hall of the newly built Kloveniersdoelen in Amsterdam

The Night Watch
–
The Night Watch
The Night Watch
–
17th century copy with indication of the areas cut down in 1715.
The Night Watch
–
The Night Watch rolled around a cylinder inside a crate. The canvas would be stored in this condition throughout the long war years.
The Night Watch
–
The sculptures of the Night Watch in 3D at the Rembrandtplein in Amsterdam in 2006-2009

41.
The Woman Taken in Adultery (Rembrandt)
–
The Woman Taken in Adultery is a painting of 1644 by Rembrandt, bought by the National Gallery, London in 1824, as one of their foundation batch of paintings. It is in oil on oak, and 83.8 x 65.4 cm, Rembrandt shows the episode of Jesus and the woman taken in adultery from the Gospel of Saint John. In this scene, a few Jews, mainly Scribes and Pharisees, tried to catch Jesus condoning disobedience to the Jewish Law, to do this, they produced a woman who had been caught taking part in adultery. Then, they said Teacher, this woman has caught in the act of adultery. Now in the law Moses commanded us to stone such, what do you say about her. Jesus replied, He that is without sin among you, let him first cast a stone at her, Rembrandt made Jesus appear taller than the other figures and more brightly lit. In contrast, the Jews are in the dark and appear lower, symbolically, Jesuss height represents his moral superiority over those who attempted to trick him. The painting was investigated by the scientists of the National Gallery London, Rembrandt employed his usual limited number of pigments, such as ochres, vermilion, red lakes, lead white, lead-tin-yellow and bone black

The Woman Taken in Adultery (Rembrandt)
–
The Woman Taken in Adultery, by Rembrandt

42.
Head of Christ (Rembrandt)
–
The Head of Christ is a 1648 painting by the Dutch artist Rembrandt, based on a Jewish model and thus marking a turning-point in the artists work. It is now in the Gemäldegalerie in Berlin, there are multiple versions of Rembrandts Head of Christ which compose an international collection of paintings in the possession of a number of different cultural institutions and individuals. In 2004, dendrochronological analysis determined that the source of the oak panel—both the original from the seventeenth century—and the main one came from the Baltic/Polish regions, the analysis yielded a probable creation date of 1628 or later. Rowohlt Taschenbuch Verlag, Reinbek 2006, ISBN 3-499-50691-2, duMont Literatur und Kunst, Köln 2006, ISBN 3-8321-7694-2

Head of Christ (Rembrandt)
–
This article is about the painting by Rembrandt. For the painting of the same name by Sallman, see Head of Christ.
Head of Christ (Rembrandt)
–
Philadelphia panel

43.
Bathsheba at Her Bath (Rembrandt)
–
Bathsheba at Her Bath is an oil painting by the Dutch artist Rembrandt finished in 1654. A depiction that is both sensual and empathetic, it shows a moment from the Old Testament story in which King David sees Bathsheba bathing and, entranced, seduces and impregnates her. In order to marry Bathsheba and conceal his sin, David sends her husband into battle and orders his generals to abandon him, the painting hangs in The Louvre, it is one of 583 works donated by Dr. Louis La Caze in 1869. For Kenneth Clark, the canvas is Rembrandts greatest painting of the nude and its insight into Bathshebas moral dilemma has been described as one of the great achievements of western painting. The Second Book of Samuel gives the account of King David who saw a woman bathing from his palace roof, when he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child, David was able to marry Bathsheba by sending Uriah into battle where he was killed. Prior to Bathsheba at Her Bath, the treatment had been to show Bathsheba bathing out of doors—thus accounting for her visibility to David—and accompanied by maidservants. A tower could usually be seen in the distance, and perhaps a small figure of David, such was the design Rembrandts earlier The Toilet of Bathsheba, dated 1643. As a result, the theme of previous treatments of the subject is replaced by a direct eroticism in which the viewer supplants David as voyeur. The work is painted as life sized and in a shallow space and it is not known whether Rembrandt painted Bathsheba for his own reasons, or to satisfy a commission. Presumably in response to Rembrandts painting, his ex-pupil and close associate Willem Drost painted Bathsheba with Davids Letter the same year, apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read, the dark background is suggestive of night, while a massive column implies a large architectural structure. Behind her lies a passage of richly painted drapery composed of browns, around her rests a thickly painted background of white chemise, set against this her naked flesh stands out for its solid form and the sumptuous application of paint. The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. A print by Tobias Stimmer may have been influential, as it includes the pillar and it was begun around 1647 and altered and repainted until its completion in 1654. Originally the canvas may have larger and of a vertical format. X-radiographs show that at some point late in the process, he lowered Bathshebas head from its initial more upward angle. There was no letter in her hand in the conception, and it is also possible that her lap, thighs

Bathsheba at Her Bath (Rembrandt)
–
Bathsheba at Her Bath
Bathsheba at Her Bath (Rembrandt)
–
Rembrandt, The Toilet of Bathsheba, 1643, Metropolitan Museum of Art.
Bathsheba at Her Bath (Rembrandt)
–
Willem Drost, Bathsheba with David's Letter, 1654.
Bathsheba at Her Bath (Rembrandt)
–
A Woman Bathing in a Stream, 1655, National Gallery, London, was painted by Rembrandt at about the same time as Bathsheba and shares a similar spirit of intimacy.

44.
Virgin and Child with a Cat
–
The Dutch artist Rembrandt van Rijn occupies a unique a position in the history of prints as he does in the history of painting. Etchings such as the The Virgin and Child with a Cat, of 1654 and it is to Rembrandt that generations of etchers have constantly looked for inspiration. In its collection, the Victoria and Albert Museum has both one of the earliest impressions of this etching and the copper plate from which the image is taken. This print shows a scene of maternal affection but it is also a powerful piece of Christian symbolism. While the cat on the left is playing with the Virgins hem, the Virgin is treading on the snake, symbolising her role as the new Eve, who will triumph over original sin. Joseph looks in from outside the window, symbolising his closeness to, but also his separation from, the pattern of the windows glazing creates the impression of a halo around the Virgins head. ISBN 1-85177-365-7 Media related to The Virgin and the Child with the Cat and Snake at Wikimedia Commons

45.
Portrait of Jan Six
–
Portrait of Jan Six is a 1654 painting by the Dutch painter Rembrandt van Rijn. Having been handed down many generations, via the direct descendants of the subject, Jan Six. This painting was documented by Hofstede de Groot in 1915, who wrote,712 and he stands, seen in full face, turned slightly to the left with his head bent over a little on the right shoulder, and looks straight out of the picture. He is about to go out, he has put his black felt hat on his long fair reddish hair, and with the right hand. He wears a grey coat with yellow buttons, over the left shoulder hangs a short bright red cloak with a collar. He has a collar and pleated wristbands. The light falls from the left at top on the whole figure, the date is known from the couplet written by J. Six himself, AonlDas qVI sVM tenerls VeneratVs ab annls TaLIs ego lanVs SIXIVs ora tVLI, the sum of the capitals, M, D, L, X, V, I, gives the date 1654. Canvas,44 1/2 inches by 40 1/2 inches, etched by P. J. Arendzen, by W. Steelink in Van Someren, Oude Kunst in Nederland, by Desboutin. Mentioned by Vosmaer, pp.273,556, Bode, pp.532,558, Dutuit, p.54, Michel, pp.452,565, Hofstede de Groot, Urkunden, No. 151, Professor Jan Six, Oud Holland, xi. p.156, Moes, exhibited at Amsterdam,1872, and 1900, No.127. Painted for the sitter, and since preserved in his family, in the collection of J. Six, Amsterdam. Free from all external hindrances, he could create, he no longer aimed at securing so exact a likeness of his sitter. Altman, the Nicolaes Bruyningh at Cassel, and above all the Jan Six at Amsterdam, list of paintings by Rembrandt Rkd. nl, Jan Six — in the RKD

46.
The Polish Rider
–
The Polish Rider is a seventeenth-century painting, usually dated to the 1650s, of a young man traveling on horseback through a murky landscape, now in The Frick Collection in New York. When the painting was sold by Zdzisław Tarnowski to Henry Frick in 1910 and this attribution has since been contested, though this remains a minority view. There has also been debate whether the painting was intended as a portrait of a particular person, living or historical. Both the quality of the painting and its air of mystery are commonly recognized. The first western scholar to discuss the painting was Wilhelm von Bode who in his History of Dutch Painting stated that it was a Rembrandt dating from his late period, somewhat later, Abraham Bredius examined the picture quite closely and had no doubts that its author was Rembrandt. At the beginning of the century, Alfred von Wurzbach suggested that Rembrandts student Aert de Gelder might have been the author. Though the mysterious and somewhat solemn expression on the Riders brilliantly painted face point to Rembrandt, in particular, Rembrandt rarely worked on equestrian paintings, the only other known equestrian portrait in Rembrandts work being the Portrait of Frederick Rihel,1663. Those few scholars who still question Rembrandts authorship feel that the execution is uneven, a 1998 study published by the RRP concluded that another artists hand, besides that of Rembrandt, was involved in the work. Rembrandt may have started the painting in the 1650s, but perhaps he left it unfinished, the idealised, inscrutable character has encouraged various theories about its subject, if the picture is a portrait. Others believe that the outfit of the rider, the weapons, Dutch equestrian portraits were infrequent in the 17th century and traditionally showed a fashionably dressed rider on a well-bred, spirited horse, as in Rembrandts Frederick Rihel. Historical characters have also suggested, ranging Old Testament David to the Prodigal Son. A “soldier of Christ”, a representation of a mounted soldier defending Eastern Europe against the Turks. The young rider appears to people to face nameless danger in a bare mountainous landscape that contains a mysterious building, dark water. In 1944, the American Rembrandt scholar Julius S, held contested the claim that the subject was Polish and suggested the riders costume could be Hungarian. Two Polish scholars suggested in 1912 that the model for the portrait was Rembrandts son Titus, stanislaus II Augustus of Poland, Warsaw,1793. Countess Waleria Stroynowska Tarnowska, of Dzików, Galicia,1834, Henry Frick,1910, bequeathed to the Frick Collection. In 1993 the artist Russell Connor painted a portrait in the style of Rembrandt showing the Dutch master, palette in hand, a Polish Nobleman, a painting by Rembrandt Thomas M. Prymak, Rembrandts Polish Rider in its East European Context, The Polish Review, vol

The Polish Rider
–
The Polish Rider

47.
Self-portrait (Rembrandt, Altman)
–
Self-Portrait is a 1660 oil on canvas painting by the Dutch artist Rembrandt, one of over 40 self-portraits by Rembrandt. Painted when the artist was fifty-four, it has noted as a work in which may be seen the wrinkled brow. Part of the Benjamin Altman Collection, it has been in the Metropolitan Museum of Art since 1913, the Altman portrait is dated 1660, when he was fifty-four years old. This was a year of anxiety for him and he had just been declared bankrupt. He saw his collection of art treasures disposed of at auction and himself deserted by his pupils and his friends, in this portrait we have a work of mature years, when he brought all the skill and resources of a lifetime to its creation. The lift of the eyebrows that wrinkle his forehead is that of whimsical impatience, the mouth is drawn and the mark of undeserved neglect is evident in the premature wrinkles, but a certain merry pride lurks in the tilted cap and raised head. A pang of pity shoots through us, only to be replaced by one of satisfaction that he, the neglected, is remembered and they. Though this great artist lived several years longer, they were years of misery and his great reputation suffered an almost total eclipse, although to-day he is probably the most popular painter that ever lived. Yet he never lost his courage, and as we see him in this portrait he carries his head bravely and wears his hat jauntily, as if in defiance of the evils that engulfed him. Heretofore we may have felt acquainted with Rembrandt the painter, but now we know Rembrandt the man, technically this portrait shows Rembrandt at his best. The hat, a black, and the background, a warm green, are smoothly painted. Over a red waistcoat Rembrandt wears a heavy, brownish coat, Frick, will find a comparison of the moods of that picture and our work an interesting one. In the portrait owned by Mr. Frick, though it was painted in a troubled time, he paints himself as though he were a philosopher or prophet to whom all things. In the Altman picture he is prematurely aged by his troubles and is pestered with worries and his forehead is wrinkled and the mouth is drawn, but the cap is tilted a little jauntily on one side and the head is erect and proud. This article incorporates text from Century illustrated monthly magazine, by A. T, van Lear, a publication from 1916 now in the public domain in the United States. This article incorporates text from What pictures to see in America, by Lorinda Munson Bryant and this article incorporates text from Handbook of the Benjamin Altman collection, by Metropolitan Museum of Art, a publication from 1914 now in the public domain in the United States. The Metropolitan Museum of Art Long Island University Copy at Victoria & Albert Museum

48.
Ahasuerus and Haman at the Feast of Esther
–
The painting Ahasveros and Haman at the Feast of Esther is one of the few works of Rembrandt van Rijn whose complete provenance is known. The origin of the painting can be traced back to 1662, the subject is an episode from chapters 5-7 of the book of Esther in the Old Testament. The Jews were saved by the intercession of Mordechais cousin Esther and it is this rescue that is still celebrated in the Jewish festival of Purim. In that festival, Haman is portrayed as the villain, according to the Pushkin Museum this is one of the best creations of Rembrandts late period. Rembrandt was inspired by the play Hester, by Johannes Serwouters, the playwright was first performed in 1659 in the Schouwburg of Van Campen and dedicated to Leonore Huydecoper, the daughter of Joan Huydecoper van Maarsseveen. Serwouters wrote his play as a reaction to the pogroms in Eastern Europe and her husband may have ordered the painting, in this way helping Rembrandt being in financial difficulties. After its completion in 1660, Rembrandt sold the painting Ahasuerus, in the year 1662 a poetry book by Jan Vos was published, in which there were a number of poems based on the paintings belonging to Jan J. Hinlopen. Jan Vos describes the painting as following, Here one sees Haman eating with Ahasuerus, but it is in vain, his breast is full of regret and pain. He eats Esthers food, but deeper into her heart, the king is mad with revenge and rage. Part of Jan Hinlopens collection passed to his two daughters, this painting was one of them, sara Hinlopen, the longest living of her family, died 89 years old, but without children. Most of her belongings passed to Nicolaes Geelvinck and his three sisters, unfortunately, her will does not mention any painting, most probably to avoid inheritance taxes. In 1764 the painting came to Catherine the Great, most probably through the German entrepreneur Johann Ernst Gotzkowsky, after receiving 320 paintings at one time from Gotzkowsky, the Russian Tsarina started the Hermitage. Probably advised by Gustav Friedrich Waagen the painting went in 1862 to the Museum Rumyantsev in Moscow, since 1924 Ahasuerus and Haman at the Feast of Esther can be seen in the Pushkin Museum, also in Moscow

Ahasuerus and Haman at the Feast of Esther
–
Ahasuerus and Haman at the Feast of Esther
Ahasuerus and Haman at the Feast of Esther
–
Engravure of the Playhouse Van Campen in 1658 by Salomon Savery

49.
The Denial of Saint Peter (Rembrandt)
–
The Denial of Peter is a 1660 painting by Rembrandt, now in the Rijksmuseum in Amsterdam. Rembrandt never made a journey to Italy, as many of his contemporaries did and it is therefore thought that his treatment of themes such as the Denial derived substantially from prints based on foreign works. In this case there are two engravings, both based on paintings by the Flemish artist Gerard Seghers, which are implicated in Rembrandts Denial, the first is by Schelte a Bolswert, the second an engraving by one A. de Paullis. Roberta DAdda, Rembrandt, Milano, Skira,2006

The Denial of Saint Peter (Rembrandt)
–
The Denial of Saint Peter

50.
The Conspiracy of Claudius Civilis
–
The Conspiracy of Claudius Civilis is a 1661–62 oil painting by the Dutch painter Rembrandt, which was originally the largest he ever painted, at around five by five metres in the shape of a lunette. The painting was commissioned by the Amsterdam city council for the Town Hall, after the work had been in place briefly, it was returned to Rembrandt, who may have never been paid. Rembrandt drastically cut down the painting to a quarter of the size to be sold. It is the last secular painting he finished. Civilis, Tacitus writes, was intelligent for a native, and passed himself off as a second Sertorius or Hannibal, whose facial disfigurement he shared—that is to say. He feigned friendship with Emperor Vespasian in order to regain his freedom, when he returned to his tribal grounds in the marshes of the Betuwe, he organized the revolt he had long been planning. The painting was commissioned for the gallery of the new city hall on the Dam, the work was then shared out by the burgomasters Joan Huydecoper and Andries de Graeff, who were certainly decisive, between a number of painters including Jacob Jordaens and Jan Lievens. The council provided the canvas to the artist, Rembrandt was commissioned to do the scene from Tacitus, one of eight intended to cover the revolt in the original scheme. The sword-oath was invented by Rembrandt, in the following year, the States General had commissioned a set of twelve paintings by Van Veen on the same subject for The Hague. These baroque works had entered the popular imagination as depictions of the revolt, Van Veen followed baroque ideas of decorum by always showing Civilis in profile, with only his good eye visible. A sketch survives that shows that he had transferred the scene from Tactituss sacred grove to a vaulted hall with open arches. When all four paintings were in place, the discrepancy was evident, the council probably expected something similar in style, rather than the ominous grandeur of Rembrandts conception. The chiaroscuro is typical of Rembrandts late works, but the light and shadow. In August 1662, when the painting was there, Rembrandt signed an agreement giving a quarter-share of his profits accruing from the piece for the City Hall. By 24 September 1662, however, when the archbishop and elector of Cologne Maximilian Henry of Bavaria was received in the town hall, Rembrandts painting was gone. One objection may well have been the crown that Rembrandt had set upon Claudius Civiliss head and his dominating the scene, hardly features of a consultative. Blankert suggested that the painting had too much dark, unused space, for Kenneth Clark, Crenshaw writes that Rembrandt was away for a couple of months, and. He did not have enough supporters in the places when obstacles arose

The Conspiracy of Claudius Civilis
–
central fragment
The Conspiracy of Claudius Civilis
–
Inside the palace on the second floor, with one of the lunettes by Jordaens
The Conspiracy of Claudius Civilis
–
Funeral ticket sketch detail. Rectangle shows the approximate location of the original cut down painting
The Conspiracy of Claudius Civilis
–
Floorplan second floor (1661) Rembrandt's Conspiracy was in the lower left corner

51.
Self-Portrait as the Apostle Paul
–
Self-portrait as the Apostle Paul is one of over 40 painted self-portraits by Rembrandt, painted in 1661 by the Dutch artist Rembrandt. It is now in the Rijksmuseum in Amsterdam, self-portrait as the Apostle Paul, Rembrandt Harmensz

53.
The Jewish Bride
–
The Jewish Bride is a painting by Rembrandt, painted around 1667. This interpretation is no longer accepted, and the identity of the couple is uncertain, the ambiguity is heightened by the lack of anecdotal context, leaving only the central universal theme, that of a couple joined in love. Speculative suggestions as to the couples identity have ranged from Rembrandts son Titus and his bride, or Amsterdam poet Miguel de Barrios, also considered are several couples from the Old Testament, including Abraham and Sarah, or Boaz and Ruth. The likeliest identification, however, is that of Isaac and Rebekah, as described in Genesis 26,8, according to Rembrandt biographer Christopher White, the completed composition is one of the greatest expressions of the tender fusion of spiritual and physical love in the history of painting. The painting is in the permanent collection of the Rijksmuseum Amsterdam, the Jewish Bride at the Rijksmuseum Amsterdam. Portrait of a couple as Isaac and Rebeccah, known as The Jewish Bride in the RKDimages database

The Jewish Bride
–
The Jewish Bride
The Jewish Bride
–
Detail of the hands
The Jewish Bride
–
Drawing of Isaac and Rebeccah spied upon by Abimelech, by Rembrandt, ca. 1662
The Jewish Bride
–
Other Jewish Bride, by Rembrandt, 1641

54.
The Return of the Prodigal Son (Rembrandt)
–
The Return of the Prodigal Son is an oil painting by Rembrandt. It is among the Dutch masters final works, likely completed within two years of his death in 1669, petersburg may be forgiven for claiming as the greatest picture ever painted. In the painting, the son has returned home in a state from travels in which he has wasted his inheritance and fallen into poverty. He kneels before his father in repentance, wishing for forgiveness and his father receives him with a tender gesture. His hands seem to suggest mothering and fathering at once, the left appears larger and more masculine, set on the shoulder, while the right is softer. But when this, your son, came, who has devoured your living with prostitutes, you killed the fattened calf for him. —Luke 15, 29–30, World English Bible The father explains, But it was appropriate to celebrate and be glad, for this, your brother, was dead and he was lost, and is found. Rembrandt was moved by the parable, and he made a variety of drawings, etchings, the Return of the Prodigal Son includes figures not directly related to the parable but seen in some of these earlier works, their identities have been debated. The woman at top left, barely visible, is likely the mother, while the man, whose dress implies wealth. The standing man at centre is likely the elder son, the Return of the Prodigal Son demonstrates the mastery of the late Rembrandt. His evocation of spirituality and the message of forgiveness has been considered the height of his art. Goes beyond the work of all other Baroque artists in the evocation of religious mood, the aged artists power of realism is not diminished, but increased by psychological insight and spiritual awareness. The observer is roused to a feeling of some extraordinary event, the whole represents a symbol of homecoming, of the darkness of human existence illuminated by tenderness, of weary and sinful mankind taking refuge in the shelter of Gods mercy. Art historian H. W. Janson writes that Prodigal Son may be most moving painting and it is also his quietest—a moment stretching into eternity. So pervasive is the mood of tender silence that the viewer feels a kinship with this group and that bond is perhaps stronger and more intimate in this picture than in any earlier work of art. He begins by describing his visit to the State Hermitage Museum in 1986, considering the role of the father and sons in the parable in relation to Rembrandts biography, he wrote, Rembrandt is as much the elder son of the parable as he is the younger. Both needed the embrace of a forgiving father, but from the story itself, as well as from Rembrandts painting, it is clear that the hardest conversion to go through is the conversion of the one who stayed home. The Biblical Rembrandt, human painter in a landscape of faith, horst Woldemar Janson, Anthony F. Janson

55.
Hundred Guilder Print
–
The Hundred Guilder Print is an etching by Rembrandt. The etchings popular name derives from the sum of money supposedly once paid for an impression. The rich young man mentioned in the chapter is leaving through the gateway on the right, in this work, Rembrandt broke from the long-standing Northern European tradition of ascribing devotional qualities to religious paintings. Instead, Rembrandt depicted Biblical events as tender instances of piety and serenity, the print is reminiscent of many other Christian religious artworks because it clearly focuses on the figure of Jesus in the centre of the scene. It differs, however, in that it is not based on a biblical story. Through his use of figures, Rembrandt illustrates various themes. Thus, the etching served a purpose for Rembrandts original audience because it presents many religious messages all packed together. Rembrandt worked on the Hundred Guilder Print in stages throughout the 1640s and he probably completed it in 1649. Although the print only survives in two states, the first very rare, evidence of much reworking can be seen underneath the final print and many drawings survive for elements of it. Around 1775, Captain William Baillie printed an 100 impression edition of an extensively re-worked, by his own hand and he acquired the plate, already worn down by repeated printings, from the painter and engraver John Greenwood. As an engraver himself, Biallie attempted to restore the work, after his edition, Baillie cut the plate into four pieces, reworked them further, and had them printed as separate images. To the reduced center fragment with Christ, he added the frame of an arch, while the number of copies Rembrandt printed is unknown, the Hundred Guilder Print is known to be held in the following collections, National Gallery of Art, Washington D. C. British Museum Frick Collection Museum of Fine Arts, Boston including Biallie prints Metropolitan Museum of Art Oberlin College, Allen Memorial Art Museum Rijksmuseum

56.
The Three Crosses
–
The Three Crosses is an etching and drypoint by the Dutch artist Rembrandt van Rijn, which depicts the crucifixion of Jesus Christ. It is considered one of the most dynamic prints ever made, the main subject in the etching is Jesus Christ on the cross, flanked by the two thieves who were crucified with him. The etching depicts the Virgin Mary, mother of Jesus, weeping, roman soldiers on horseback, along with grieving citizens, surround the crosses. A beam of light, representing Gods light from heaven, pierces the sky to envelope the crucified figure of Christ. The etching is noted for its especially intricate iconography, and may represent the moment of Christs death. According to Paul Crenshaw of the Kemper Art Museum, Rembrandt was inspired by the text from Matthew 27, 46-54 when Christ cried out, “My God, my God, why hast Thou forsaken Me. ”Rembrandt drew heavily on biblical sources in his work, as well as being influenced by other Baroque contemporaries. The etching is one of over 300 Bible-inspired works Rembrandt created, the Three Crosses does not allow for dramatic contrasts of light and shade, known as chiaroscuro. Rembrandt produced the work in four stages, increasing the effects of the light, etching and drypoint are labor-intensive processes and one of the early forms of printmaking. Rembrandt chose these media primarily because he suffered financial hardship. He sold many of his etchings in order to be able to afford to print The Three Crosses. Rembrandt made around sixty impressions from the plate in its first three stages, the darkest shadows on the piece being done in dry point, and Christ, in the last stage, the Virgin Mary becomes an almost disembodied head surrounded by darkness. The figures originally encircling her have been removed, as have some of the soldiers on horseback. A man in a hat has been added and is believed to be a figure from Rembrandt’s The Conspiracy of Claudius Civilis. The most dramatic alteration is to the light which has become considerably darkened. Rembrandt may have intended the contrast between the light and darkness surrounding it to distinguish the good thief from the bad thief. Each progressive change in the work increases the importance of the Christ figure. In its fourth and fifth state, Rembrandt inked the plates in a different number of ways, one of the prints in the fourth stage is located at the Kemper Art Museum

The Three Crosses
–
Etching by Rembrandt, 1653

57.
Saskia van Uylenburgh
–
Saskia van Uylenburgh was the wife of painter Rembrandt van Rijn. In the course of her life she was his model for some of his paintings, drawings and etchings and she was the daughter of a Frisian mayor. Asteroid 461 Saskia is named in her honour, Saskia was orphaned by age 12, as her mother died in 1619 and her father five years later. Saskia was raised by her sister Hiskje and her husband, Gerard van Loo, for a while she lived in Franeker when her sister Antje was ill. After Antjes burial, Saskia assisted her brother-in-law, the Polish theology professor Johannes Maccovius, in 1631 and in the company of the Mennonite painters Govert Flinck and Jacob Backer, Saskia traveled to Amsterdam. There she met Rembrandt, who produced paintings and portraits for Uylenburghs Amsterdam clients, in turn Rembrandt travelled to Leeuwarden, where he was received by the painter Wybrand de Geest, who had married Saskias niece. Saskia and Rembrandt were engaged in 1633, and on 10 June 1634 Rembrandt asked permission to marry in Sint Annaparochie and he showed his mothers written consent to the schepen. On 2 July the couple married, the preacher was Saskias cousin, but evidently none of Rembrandts family attended the marriage. In 1635 the couple moved to one of the most desirable addresses in Amsterdam, the Nieuwe Doelenstraat, with prominent neighbors, Rembrandt gained financial success through his artwork, and decided in 1639 to buy a house in the Jodenbreestraat, next to the place where he worked. A year before, by July 16,1638, Saskias Friesian relatives complained that Saskia was spoiling her inheritance, Rembrandt asked his brother-in-law Ulricus van Uylenburgh, also a lawyer, to help them out, confirming he was successful and able to pay for the house. Three of their children died shortly after birth and were buried in the nearby Zuiderkerk, the sole survivor was Titus, who was named after his mothers sister Titia van Uylenburgh. Saskia died the year after he was born, in Amsterdam, aged 29 and she was buried in the Oude Kerk. For ten years Rembrandt focused on drawings and etchings, Saskia allowed Rembrandt to use their sons inheritance as long as he did not remarry. If Titus died without issue, Rembrandt would be the heir of the moveable property, Rembrandt hired Geertje Dircx as a wetnurse, in 1649 she expected him to marry her. The next year Rembrandt had her locked up in a house of correction when Hendrickje Stoffels became his new housekeeper, in 1662 Rembrandt, having been in financial trouble for several years, sold Saskias grave. The Embarrassment of Riches, An Interpretation of Dutch Culture in the Golden Age Driessen, Christoph, Rembrandts vrouwen, graaff, A. & M. Roscam Abbing Rembrandt voor Dummies

58.
Titus van Rijn
–
Titus van Rijn was the fourth and only surviving child of Rembrandt Harmenszoon van Rijn and Saskia van Uylenburgh. Titus is best known as a figure or model in his fathers paintings, Titus van Rijn was born in Amsterdam on September 22,1641, the fourth child of the famed artist Rembrandt van Rijn and his wife Saskia van Uylenburgh. After Rembrandts bankruptcy in 1656, Titus and his stepmother, Hendrickje Stoffels, were named in charge of Rembrandts affairs and began an art-dealership, at age 15, Titus made a will at his fathers insistence, making his father sole heir. In 1668, Titus married Magdalena van Loo and her father was Jan van Loo, silversmith, whose brother was Gerrit van Loo, a lawyer in Het Bildt. The couple lived at Magdalenas mothers house on the Singel and they had one daughter, Titia, who married François van Bijler in 1686. Titus van Rijn died in 1668 and was buried in the Westerkerk in Amsterdam and his wife, mother-in-law, and father all died a year later. Media related to Titus van Rijn at Wikimedia Commons Amsterdam City Archive

59.
Geertje Dircx
–
Geertje Dircx was the lover of Rembrandt van Rijn after the death of his wife Saskia. She was hired as a wetnurse to the painters son Titus, the relationship broke up acrimoniously, leading to a lengthy court-case for breach of promise, in which she claimed maintenance from Rembrandt. She was eventually imprisoned after displaying increasingly unstable behaviour, after her release she tried to sue Rembrandt for wrongful imprisonment. She may be the model for a number of Rembrandts works, between 1630 and 1640, she worked in an inn in Hoorn. At some point she was married to Abraham Claesz, a trumpeter, after that she lodged with her brother Pieter, a ships carpenter in Waterland. It was possibly through him that she got to know Rembrandt and she entered Rembrandts service in around 1643, as a childless widow. She lived with Rembrandt for six years in the Sint Antoniesbreestraat and nursed his son Titus and he gave her a number of rings that had belonged to his deceased wife, Saskia van Uylenburgh, a gesture not much appreciated by Saskias family. A few years later Geertje would expect Rembrandt to marry her, in May 1649 she and Rembrandt quarreled, probably as a consequence of Rembrandts new relationship with his housekeeper Hendrickje Stoffels. In June, Geertje rented a room above a seamens bar, in October Geertje complained that she had to pawn jewellery in order to survive. Rembrandt paid her 200 guilders to redeem the jewellery and agreed to increase her stipend to 160 guilders a year, Geertje, however, refused to accept this settlement, claiming that it would not cover her expenses if she became seriously ill or infirm. When Geertje came to sign the agreement with Rembrandt, she kicked up a scene and she would not listen to the notary reading out the contract, and refused to sign to the agreement. She summoned Rembrandt before the Commissioners of Marital Affairs on a charge of breach of promise, the commissioners raised the annual sum to 200 guilders. The court particularly stated that Rembrandt had to pay an allowance, provided that Titus remained her only heir. However, Geertje continued to demand money from Rembrandt, possibly to the point of blackmail and her demands and accusations led Rembrandt to request that she be locked up in the spinhuis in Gouda, a womens house of correction, sometimes referred to as an insane asylum. Historian Patrick Hunt describes it as prison for destitute and diseased prostitutes as well as an asylum for the mentally unhinged. Geertje probably lived up to the latter requisite by ranting and raving most vehemently, historians have had differing views about the facts behind this dispute. It seems that her brother and nephew, along with a number of Geertjes neighbours and she was condemned to twelve years confinement. In 1652 she petitoned for her release, but was refused, a friend of hers named Trijn Jacobs eventually managed to persuade the council to intervene on her behalf and Geertje was freed from prison, having been confined for five years

Geertje Dircx
–
This drawing by Rembrandt is believed to depict Geertje Dircx.
Geertje Dircx
–
Sarah waiting for Tobias (1647?). National Gallery of Scotland, Edinburgh. According to Gary Schwartz, the woman in the picture could be Dircx or Hendrickje Stoffels.

60.
Hendrickje Stoffels
–
Hendrickje Stoffels was the longtime lover of Rembrandt. The couple were unable to marry because of the financial settlement linked to the will of Rembrandts deceased wife Saskia, in 1654 she gave birth to Rembrandts daughter Cornelia. In the later years of their relationship Hendrickje managed Rembrandts business affairs together with the painters son Titus, Hendrickje is widely believed to have modelled for several of Rembrandts works and to be depicted in some Tronie portraits. However, her role as Rembrandts model is disputed by some critics, Hendrickje was born in the garrison city of Bredevoort, Gelderland, the daughter of sergeant Stoffel Stoffelse and Mechteld Lamberts. Sergeant Stoffel Stoffelse was Jager for the castle at Bredevoort and so was also nicknamed Jeger, with his children nicknamed Jegers, Hendrickje had three brothers, Hermen, Berent and Frerick. Hermen and Berent were longtime soldiers in Bredevoort, never serving elsewhere, Berent and Frerick both died young. Hendrickje had a sister, Martijne Jegers, and perhaps also another sister, Martijne married Jan Kerstens Pleckenpoel from Lichtenvoorde, who was another soldier in Bredevoort. After his death Martijne remarried, to Berent van Aelten, Hendrickjes father almost certainly died in July 1646, the victim of an explosion of the gunpowder tower in Bredevoort. In January 1647, after the normal mourning time of half a year, his widow Mechteld Lamberts remarried to a neighbour, Jacob van Dorsten, as a consequence of her mothers marriage, Hendrickje seems to have been constrained to leave home for Amsterdam. Hendrickje obtained work as Rembrandts housekeeper, and seems to have lived with him from approximately 1647, at first as a maid, but fast becoming much more. This led to a fallout with Rembrandts previous live-in lover Geertje Dircx, who sued Rembrandt for breach of promise in 1649. Hendrickje testified in the case, confirming that an agreement had been reached with Geertje. In the same year Hendrickje returned to Bredevoort for the summer, the Eighty Years War was past, and peace was finally reaching even the eastern Netherlands. In 1654, when she was pregnant with Rembrandts daughter, Hendrickje had to appear before the council for living in sin with Rembrandt. She admitted that she had committed the acts of a whore with Rembrandt the painter and was banned from receiving communion, on 30 October 1654, the couples daughter Cornelia van Rijn was baptized in the Oude Kerk in Amsterdam. Initially, Rembrandts unwillingness to marry Hendrickje had a pecuniary motive, even with this inheritance he had major financial problems, but without it he would have been bankrupt. But then in 1655, Titus – the son he had with Saskia – turned 14, Rembrandt immediately made sure that Titus installed him as his only heir and by that he outwitted Saskia. Still, he did not marry Hendrickje, by 1656 Rembrandt was forced to declare bankruptcy

Hendrickje Stoffels
–
Portrait of Hendrikje Stoffels, c.1654-6, oil on canvas, 101.9 x 83.7 cm; National Gallery, London
Hendrickje Stoffels
–
Hendrickje may have been a model for Bathsheba at Her Bath (1654).
Hendrickje Stoffels
–
Statue of Hendrickje Stoffels at square 't Zand in Bredevoort

61.
Jan Six
–
Jan Six was an important cultural figure in the Dutch Golden Age. The son of a merchant family Six, Jan studied liberal arts. He became the son-in-law of the mayor of Amsterdam, Nicolaes Tulp, in 1655, thanks to his father-in-law, he became magistrate of family law and various other appointments on the city council, eventually becoming mayor of Amsterdam himself in 1691 at the ripe age of 73. Six was good friends with the poet Joost van den Vondel, Six remained a devotee of the arts all his life and wrote plays himself, the most famous being Medea, published in 1648, and Onschult in 1662. In the same year the Dutch translation of Baldassarre Castigliones Il libro del Cortegiano was dedicated to Six and his collection of paintings, drawings, etchings, and other artifacts were popular in his lifetime. The 171 paintings that Lucretia Jans took with her on her marriage, were half of her fathers extensive collection that itself had been known. The other half went to her sister Anna Louisa, who married Willem van Loon. A few of those paintings can still be seen in Museum Van Loon, the dispute has been resolved and the top pieces are lent to the Rijksmuseum several months every other year

62.
Henry Clay Frick
–
Henry Clay Frick was an American industrialist, financier, union-buster, and art patron. Frick & Company coke manufacturing company, was chairman of the Carnegie Steel Company and he also financed the construction of the Pennsylvania Railroad and the Reading Company, and owned extensive real estate holdings in Pittsburgh and throughout the state of Pennsylvania. Frick was born in West Overton, Westmoreland County, Pennsylvania, in the United States, a grandson of Abraham Overholt, Fricks father, John W. Frick, was unsuccessful in business pursuits. Henry Clay Frick attended Otterbein College for one year, but did not graduate, the company was called Frick Coke Company. Thanks to loans from the family of lifelong friend Andrew W. Mellon, by 1880, the company was renamed H. C. Some of the brick and stone structures are visible in both Fayette and Westmoreland Counties. Shortly after marrying Adelaide Howard Childs, in 1881, Frick met Andrew Carnegie in New York City while the Fricks were on their honeymoon and this introduction would lead to an eventual partnership between H. C. Frick & Company and Carnegie Steel Company and, eventually, to United States Steel and this partnership ensured that Carnegies steel mills had adequate supplies of coke. Frick became chairman of the company, Carnegie made multiple attempts to force Frick out of the company they had created by making it appear that the company had nowhere left to go and that it was time for Frick to retire. Despite the contributions Frick had made towards Andrew Carnegies fortune, Carnegie disregarded him in many executive decisions including finances, at the suggestion of his friend Benjamin Ruff, Frick helped to found the exclusive South Fork Fishing and Hunting Club high above Johnstown, Pennsylvania. The charter members of the South Fork Fishing and Hunting Club were Benjamin Ruff, T. H. Sweat, Charles J. Clarke, Thomas Clark, Walter F. Fundenberg, Howard Hartley, Henry C. White, Henry Clay Frick, E. A. Meyers, hussey, D. R. Ewer, C. A. Carpenter, W. L. Dunn, W. L. McClintock, and A. V. Holmes and Andrew Carnegie. The club members made inadequate repairs to what was at time the worlds largest earthen dam. Less than 20 miles downstream from the dam sat the city of Johnstown, Cambria Iron Company operated a large iron and steel work in Johnstown and its owner, Daniel J. Morrell, was concerned about the safety of the dam and the thoroughness of repairs made to it. Morrell had even sent his own engineer to inspect the site but little was done in the run to satisfy his concerns. Poor maintenance, unusually high snow melt and heavy spring rains combined to cause the dam to give way on May 31,1889, resulting in the Johnstown Flood. Other sources blame a screen placed across the spillway by the club to prevent fish from escaping, as a cause and this strategy was a success, and Knox and Reed were able to fend off all lawsuits that would have placed blame upon the club’s members. With a volumetric flow rate that temporarily equalled that of the Mississippi River, although Cambria Irons facilities were heavily damaged, they returned to full production within a year and a half

63.
Samuel van Hoogstraten
–
Samuel Dirksz van Hoogstraten was a Dutch painter of the Golden Age, who was also a poet and author on art theory. Samuel Dirksz van Hoogstraten trained first with his father Dirk van Hoogstraten, on the death of his father, he moved to Amsterdam where he entered the workshop of Rembrandt. A short time later, he started out on his own as a master and painter of portraits and he later made several travels which took him to Vienna, Rome and London, finally retiring to Dordrecht. There he married in 1656, and held an appointment as provost of the mint, a sufficient number of Van Hoogstratens works have been preserved to show that he strove to imitate different styles at different times. In a portrait dated 1645, currently in the Lichtenstein collection in Vienna and he continued in this vein until as late as 1653 when he produced the wonderful figure of a bearded man looking out of a window. This, one of the characteristic examples of his style, is exhibited in the Kunsthistorisches Museum. He was especially skillful in his Tromp-loeil still lifes, where the reality of the scene of apparently haphazard objects often has deeper meanings, a view of the Vienna Hofburg, dated 1652, displays his skill as a painter of architecture. In contrast, a piece at the Hague representing a Lady Reading a Letter as she crosses a Courtyard or a Lady Consulting a Doctor, one of his last remaining works is a portrait of Mathys van den Brouck, dated 1670. Hoogstraten also employed his skill with perspective to construct peepshows, or perspective boxes. For example, A Peepshow with Views of the Interior of a Dutch House is a box with convincing 3D views of the interior of a Dutch house when viewed through peepholes on either end of the box. One of his perspective boxes is on show at the National Gallery in London and it shows the interior of a typical Dutch house of his time. He produced many etchings as well, and some of his plates are still preserved and his self-portrait, engraved by himself at the age of fifty, still exists. His pupils were his younger brother Jan van Hoogstraten, Aert de Gelder, Cornelis van der Meulen, Van Hoogstratens fame derives from his versatile career as a painter, poet and zealous social climber. Besides painting and directing a mint, he devoted some of his time to literary labours and it covers issues such as pictorial persuasion and illusionism, the painters moral standards and the relation of painting to philosophy, referring to various ancient and modern authors. He wrote it as a sequel to Karel van Manders early 17th century book on painting, one of van Hoogstratens many students, Arnold Houbraken, later wrote the book entitled The Great Theatre of Dutch Painters, which included a biography of his teacher. This biography is the basis of most of the information that we have about van Hoogstraten today, Van Hoogstraten also composed sonnets and tragedies. We are indebted to him for some of the sayings of Rembrandt. Samuel Dirksz van Hoogstratens paintings This article incorporates text from a now in the public domain, Chisholm, Hugh

64.
Seymour Slive
–
Seymour Slive was an American art historian, who served as director of the Harvard Art Museums from 1975 to 1991. He is considered an eminent scholar of Dutch art and more specifically of Rembrandt, Frans Hals, a Chicago native and the son of Russian-Jewish immigrants Daniel Slive and Sonia Rapoport, Slive received his BA in 1943 and PhD in 1952, both from the University of Chicago. He served in the Naval Reserve during World War II, starting in his Junior year of college, while there, he published his first book, Rembrandt and His Critics, 1630–1730. In 1954, he joined Harvard University, where he became a full seven years later in 1961. He was appointed chair of the Department of Fine Arts in 1968 until 1971 and he lectured as Slade Professor at Oxford University during the 1972/1973 academic year. In 1973, Slive was appointed Gleason Professor of Fine Arts and he was the founded director under the museums creation and expansion of the Arthur M. Sackler Museum. He retired emeritus from Harvard in 1991 as the Elizabeth and John Moore Cabot Founding Director of the Harvard University Art Museums, in 2014, Slive was bestowed the honorary degree of Doctor of Arts from Harvard University for his contributions to the world of fine art. Jowell, Koos Levy-van Halm and Liesbeth Abraham, Bianca M. 320–21, Profile at Dictionary of Art Historians Profile at International Dictionary of Art Historians

Seymour Slive
–
The portrait of Isabella Coymans was selected as the cover of Seymour Slive's exhibition catalogue of Frans Hals paintings in 1989

65.
Nightwatching
–
Nightwatching is a 2007 film about the artist Rembrandt and the creation of his painting The Night Watch. Reinier van Brummelen is the director of photography, james Willcock, known for his esoteric sets, is the art director. The film is described by co-producer Jean Labadie as a return to the Greenaway of The Draughtsmans Contract and it features Greenaways trademark neoclassical compositions and graphic sexuality. The music is by Włodek Pawlik, the film premiered in competition, at the Venice Film Festival. Nightwatching is the first feature in Greenaways film series Dutch Masters, the following film in the series is Goltzius and the Pelican Company. An associated work by the director is the documentary film Rembrandts JAccuse, in which Greenaway addresses 34 mysteries associated with the painting. The film is centred on the creation of The Night Watch, Rembrandts most famous work, the film also depicts Rembrandts personal life, and suggests he suffered serious consequences in later life as a result of the accusation contained in his most famous painting

66.
Self-portraits by Rembrandt
–
The dozens of self-portraits by Rembrandt were an important part of his oeuvre. This was a high number for any artist up to that point. By comparison, the highly prolific Rubens only produced seven self-portrait paintings, the self-portraits create a visual diary of the artist over a span of forty years. They were produced throughout his career at a steady pace. However, there is a gap in paintings between 1645 and 1652, the last three etchings date to 1648, c. 1651, and 1658, whereas he was painting portraits in 1669. At one time about ninety paintings were counted as Rembrandt self-portraits, in others he is pulling faces at himself. Together they give a clear picture of the man, his appearance and his psychological make-up. Both seem to have often been bought by collectors, and while some of the etchings are very rare, no self-portraits were listed in the famous 1656 inventory, and only a handful of the paintings remained in the family after his death. Rembrandts self-portraits were created by the artist looking at himself in a mirror, in the etchings the printing process creates a reversed image, and the prints therefore show Rembrandt in the same orientation as he appeared to contemporaries. This is one reason why the hands are usually omitted or just cursorily described in the paintings, one may have been bought about 1652 and then sold in 1656 when he went bankrupt. In 1658 he asked his son Titus to arrange delivery of another one and these are B7, B19, B21 and B22, stretching between 1631 and 1648. There are a number of what seem to be abandoned attempts at such portraits around the same times, while the earliest etchings are very rare, many others that are not official portraits survive in large numbers, and certainly reached the market of collectors. As noted above, there are only two sketchy etchings after 1648, and there are no etched equivalents of the great painted self-portraits of the 1550s and 1560s. The number of drawings now accepted is far smaller, in single figures, the standing portrait, if indeed by it is Rembrandt, may have been done for someone elses friendship album, keeping these was common in artistic and literary circles. The Washington red chalk drawing, perhaps the most finished example, is close to the etching B2 in many ways, since these were exclusive to aristocratic circles, it was probably invented like a piece of costume. A short film from 1956 by Bert Haanstra showed a sequence of the paintings, with the eyes always in the same position. There is also Le miroir des paradoxes, autoportraits, film by Alain Jaubert from the Palettes series

67.
Rembrandt Research Project
–
The Rembrandt Research Project is an initiative of the Nederlandse Organisatie voor Wetenschappelijk Onderzoek, which is the Netherlands Organization for Scientific Research. Its purpose is to organize and categorize research on Rembrandt, with the aim of discovering new facts about this Dutch Golden Age painter, the project was started in 1968, but has since become the authority on Rembrandt and has final say in whether a painting is genuine. Also, more paintings have been attributed to working in the Rembrandt studio. Recently, period copies of Rembrandt paintings are being studied for clues as to whether certain copies were factory-style pieces for visiting functionaries. Rembrandts work was in demand for decades, and he managed to keep productivity up while also keeping his prices high by enforcing strict quality control on the work done in his studio. The projects six-volume publication, A Corpus of Rembrandt Paintings, is considered the authority by all auction houses and dealers who work with works by Rembrandt. However, the project has also initiated debate about the feasibility of conclusive attribution, Ernst van de Wetering, Barbara de Lange, Rembrandt in Nieuw Licht, Local World, Amsterdam,2009, ISBN 978-90-811681-7-5. The research project is also the point of reference regarding concordance with other catalogs of the masters works, though most of these reference each other. Below is a partial list of some commonly quoted catalogs, Catalogue extracted from the Register L R. fol, ploos van Amstel, J. Cz. welke in het openbaar zullen verkogt worden, C. This painting was first cataloged in 1917 by Abraham Bredius, who accepted it as a Rembrandt, later Kurt Bauch rejected this based on a photograph and attributed it to Jan Lievens without ever having seen the painting. Werner Sumowski re-attributed the painting based on photographs to Rousseaux as a rebuttal to the arguments by art historians Bauch, Jakob Rosenberg, the Rembrandt Research project seeks to avoid such arguments by making attributions based on historical and forensic evidence. The study of Rembrandts oevre includes study of drawings and etchings as well as paintings by a range of artists who were Rembrandts contemporaries. The pAn 1998 catalog contains an article by Ernst van de Wetering with fotos of other depictions of the man by Jan Lievens, Gerard Dou. The man has clearly the face in all four portraits. According to Van de Wetering, this is the man referred to as Rembrandts father, who was probably not his father. In early 2011, the RRP board voted to terminate the project by the end of 2011 even though approximately one-quarter of Rembrandts oeuvre has not yet been investigated. A major reason for this decision was the lack of available to assume responsibilities from the RRPs chair, Ernst van de Wetering. Other reasons cited included lack of funding, as the Netherlands Organisation for Scientific Research ceased funding the project in 1998

Rembrandt Research Project
–
Signatures by Rembrandt published by the Rembrandt Research Project.
Rembrandt Research Project
–
Old man with turban, Rembrandt.
Rembrandt Research Project
–
Sultan Soliman, Lievens.
Rembrandt Research Project
–
Old man with turban, Jan Adriaensz Staveren.

68.
Rembrandt lighting
–
Rembrandt lighting is a lighting technique that is used in studio portrait photography. It can be achieved using one light and a reflector, or two lights, and is popular because it is capable of producing images which appear both natural and compelling with a minimum of equipment. Rembrandt lighting is characterized by an illuminated triangle under the eye of the subject on the illuminated side of the face. It is named for the Dutch painter Rembrandt, who used this type of lighting. The key in Rembrandt lighting is creating the triangle or diamond shape of light underneath the eye, the triangle should be no longer than the nose and no wider than the eye. This technique may be achieved subtly or very dramatically by altering the distance between subject and lights and relative strengths of main and fill lights, DeMille is credited with the first use of the term. When business partner Sam Goldwyn saw the film only half an actors face illuminated. After DeMille told him it was Rembrandt lighting, Sam’s reply was jubilant with relief, for Rembrandt lighting the exhibitors would pay double

69.
Rembrandt, Iowa
–
Rembrandt is a city in Buena Vista County, Iowa, United States. The population was 203 at the 2010 census, rembrandt is located at 42°4935 North, 95°957 West. According to the United States Census Bureau, the city has an area of 0.20 square miles. As of the census of 2010, there were 203 people,89 households, the population density was 1,015.0 inhabitants per square mile. There were 99 housing units at a density of 495.0 per square mile. The racial makeup of the city was 97. 0% White,0. 5% African American,1. 5% from other races, hispanic or Latino of any race were 3. 9% of the population. 37. 1% of all households were made up of individuals and 10. 1% had someone living alone who was 65 years of age or older, the average household size was 2.28 and the average family size was 2.92. The median age in the city was 37.8 years. 28. 1% of residents were under the age of 18,7. 9% were between the ages of 18 and 24,21. 1% were from 25 to 44, 33% were from 45 to 64, and 9. 9% were 65 years of age or older. The gender makeup of the city was 48. 8% male and 51. 2% female, as of the census of 2000, there were 228 people,96 households, and 59 families residing in the city. The population density was 1,116.9 people per square mile, there were 102 housing units at an average density of 499.7 per square mile. The racial makeup of the city was 100. 00% White,36. 5% of all households were made up of individuals and 15. 6% had someone living alone who was 65 years of age or older. The average household size was 2.38 and the family size was 3.17. Age spread,28. 5% under the age of 18,9. 6% from 18 to 24,24. 6% from 25 to 44,21. 5% from 45 to 64, the median age was 37 years. For every 100 females there were 94.9 males, for every 100 females age 18 and over, there were 94.0 males. The median income for a household in the city was $34,375, males had a median income of $31,500 versus $17,500 for females. The per capita income for the city was $17,248, none of the families and 4. 0% of the population were living below the poverty line, including no under eighteens and 7. 4% of those over 64

Rembrandt, Iowa
–
Location of Rembrandt, Iowa

70.
Rembrandt (crater)
–
Rembrandt is a large impact crater on Mercury. With a diameter of 715 km it is the second-largest impact basin on the planet, after Caloris and it was discovered by MESSENGER during its second flyby of Mercury on October 6,2008. The crater is 3.9 billion years old, and was created during the period of Late Heavy Bombardment, the density and size distribution of impact craters along Rembrandts rim indicate that it is one of the youngest impact basins on Mercury. The crater is named after Dutch painter Rembrandt Harmenszoon van Rijn, Rembrandt was discovered in the images taken by the MESSENGER spacecraft during its second flyby of Mercury on October 6,2008. The crater is situated in the hemisphere of the planet at the latitude of about −33°. It is named after famous Dutch painter Rembrandt Harmenszoon van Rijn, the name Rembrandt was approved by the International Astronomical Union on February 27,2009. Rembrandt is the second largest impact basin on Mercury after Caloris and its outer boundary, which is called crater rim, is defined by a ring of inward facing scarps and massifs. The diameter of this ring is 715 km — half the diameter of Caloris, the basin is surrounded by the blocky impact deposits made from the material excavated from the depth. The ejecta are mainly observed to the north and northeast from the basin, the interior of Rembrandt includes two terrain types, hummocky terrain and smooth plains. The former occupies a part of the floor near its northern margin forming an incomplete ring about 130 km wide. The latter fill much of the interior of Rembrandt and these two plain types are separated from each other by a ring of massifs, which is about 450 km in diameter. This boundary may correspond to the edge of the transient cavity created by the impact. The smooth plains filling the inner part of Rembrandt are interpreted to be of the volcanic origin and they are probably similar to the Lunar maria, although they are lighter than the surrounding plains, which is the opposite of what is observed on the Moon. The smooth plains are intersected by a system of wrinkle-ridges and troughs, the concentric ridges form a nearly complete ring with the diameter of about 375 km. The radial wrinkle ridges and troughs occur mainly inside this ring, both radial and concentric ridges have the width between 1 and 10 km and can be as long as 180 km. The troughs are generally younger than the ridges, because they cut the latter, the width of the troughs varies from 1 and 3 km. Some radial troughs closely follow wrinkle ridges forming a wheel spoke pattern. Troughs are interpreted to be extensional features—grabens, while wrinkle ridges are contractional, Rembrandt basin is cross-cut by a large lobate scarp running from the southwest to the north

71.
Rembrandt (train)
–
The Rembrandt was an express train that linked Amsterdam in the Netherlands, with Munich in Germany and later Chur in Switzerland. The train was named after the renowned Dutch painter Rembrandt, for its first 16 years it was a first-class-only Trans Europ Express, becoming a two-class InterCity in 1983 and finally a EuroCity in 1987. With the completion of the works at the Dutch–German border on the Arnhem–Oberhausen line. Of the then-three TEE services on line, the Rembrandt was scheduled as the afternoon service from Amsterdam. It carried a dining car staffed by the German Sleeper and Dining Car Company, the Rembrandt was the first TEE to call in Baden-Wurtembergs capital, Stuttgart. Northbound, the Rembrandt departed for Amsterdam from Munich early in the morning, on 27 May 1979, the exchange of coaches with the Helvetia was discontinued, and the stop at Mannheim was replaced by a stop at Darmstadt. On 1 June 1980, the route was shortened to Stuttgart at the southern end, the Rembrandts last day of operation as a TEE was 28 May 1983. The following day, its terminus was moved farther north, to Frankfurt am Main. It continued to carry a full dining car and its train number was IC122 northbound, IC123 southbound. On 31 May 1987, with the start of the EuroCity network, the original route of the Rembrandt was served by EC Frans Hals. When new Swiss rolling stock of type EC90 became available in 1991, on 14 December 2002, the Rembrandt was replaced by an ICE service between Amsterdam and Basel. Media related to Rembrandt at Wikimedia Commons

72.
Rembrandt in Southern California
–
Fourteen Rembrandt paintings are held in collections in Southern California. This accumulation began with J. Paul Gettys purchase of the Portrait of Marten Looten in 1938, Portrait of Marten Looten is now housed at the Los Angeles County Museum of Art. The Rembrandt Club of Pomona College in Claremont, California was established in 1905 for the promotion and it predates all of the major art museums of Southern California. After her death the painting was inherited by her son Archer M. Huntington and he sold it in 1928, the year that the Huntington Library, Art Gallery, and Botanical Gardens was established. Aristotle was eventually purchased by the Metropolitan Museum of Art of New York in 1962, at the time this was the highest amount ever paid for a painting at a public or private sale. In 1913, the Los Angeles County Museum of History, Science, the inclusion of the three divisions had been determined in part by the Smithsonians configuration, and there was very little art to display. The opening of the museum was timed to coincide with the completion of the Owens Valley aqueduct—it was part of the celebratory festivities and this was no coincidence, the ready availability of water made the development of Southern California possible. Soon a community interested and knowledgeable regarding culture and fine arts emerged, considered a newsworthy event, accounts in the Los Angeles Times trumpet the earliest arrivals of professed Rembrandt paintings in the Southland in 1928 and 1932. An Elderly Jew in Fur Cap was purchased by Mr. during the fall and winter of 1934-35, the Los Angeles Sunday Times published a series entitled Southern Californias One Hundred Finest Privately Owned Paintings. The Keelers Rembrandt was featured in the first edition of the series, when Mary Keeler died in 1939, she left their collection of art to the County Museum of History, Science, and Art, without restrictions. Another purported Rembrandt, Portrait of a Woman with Oriental Headdress, was acquired by Mr. in 1938, the Willitts J. Hole collection was donated by his daughter Agnes Hole Rindge to the University of California, Los Angeles. Soon after, on January 8,1940, the Hole Rembrandt, supported by scholars as genuine works by Rembrandts hand at the time, both the Keeler and Hole pictures have since been reconsidered. In 1947 when the picture was owned by Marion Davies, Hearst gave the funds to Los Angeles County Museum of Art to purchase it, along with eighteen other works, from her. No longer considered by Rembrandt, it is attributed to Govert Flinck. As described above, prior to a division in 1961, fine art was integrated with history, soon after the Rembrandt expert became the first director of the newly created J. Paul Getty Museum in Malibu,1954. Museum leaders have calculated the cost of upgrading various areas of their collection, he states, to approach the heights of a Rembrandt repository. would cost no less than $65 million. The article also reports a rumor about a Southern California Rembrandt that is very illuminating, While Los Angeles may resent signs of Eastern condescension, it has not lost its sense of humor. It is still capable of chuckling about a story, possibly only a rumor, involving a Rembrandt portrait owned by Howard Ahmanson, banker and patron of the arts

73.
Virtual International Authority File
–
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records